{"slug":"psd-layer-analysis-4hours","title":"修图4小时的照片都修了啥？风光大片psd揭秘，逐图层分析思路！","author":"Thomas看看世界","date":"2022-03-06","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247494728&idx=2&sn=67cc963ea3b8de6a2d85e56f6cbff9c1&chksm=eb82122cdcf59b3a5c5231608deab43b2974631be2ee29e0031295a7aa00bfc7b6c4f025d381&scene=21#wechat_redirect","blocks":[{"t":"h","x":"Thomas看看世界","xe":"Thomas Chu Photo"},{"t":"p","x":"很少有摄影师会分享自己的工作psd文件，因为其中蕴含了摄影师多年练成的后期核心步骤，从每一步的前后对比中，也可以看出摄影师完整的调色思路。","b":false,"xe":"Few photographers share their working PSD files, because they contain the core post-processing steps honed over many years — and the before/after of each step reveals the photographer's complete grading logic."},{"t":"img","f":"img-02","w":1080,"h":720},{"t":"p","x":"今天的教程中，Thomas就会和大家展示上面这张照片的全图层PSD文件，并和大家分享每一步操作背后的思考和想法。","b":false,"xe":"In today's tutorial, Thomas shows the full-layer PSD file of the photo above, sharing the thinking and ideas behind every step."},{"t":"h","x":"视频教程","xe":"Video Tutorial"},{"t":"bili","bv":"BV1nh411t7VF","bpic":"bili-1","bt":"修图4小时的照片都修了啥？风光大片PSD揭秘，逐图层分析思路！"},{"t":"p","x":"这一篇是上面视频的完整图文整理。Thomas 把自己那张红山石林下库俄铁路照片的全图层 PSD 打开，一步一步还原这张修了 4 个小时的照片到底做了什么：从前期参数、裁剪变形，到色彩分离、压暗渲染、立体感刻画，再到火车提亮、电线杆的去留取舍。下文按视频顺序整理，几乎每一步都配了前后状态截图，适合对照自己的 PSD 一起看。","b":false,"xe":"This is the fully illustrated companion to the video above. Thomas opens the full-layer PSD of his photo of the Ku'e Railway beneath the red rock forest and replays, step by step, what four hours of editing actually did: from capture settings, cropping and warping to color separation, darkening passes and depth rendering, down to brightening the train and the keep-or-remove debate over one utility pole. The notes below follow the video's order, with screenshots of nearly every stage — ideal to read alongside your own PSD."},{"t":"p","x":"先看总览。视频开头（0:37 处）就把原片与成片放在一起：一张灰蒙蒙的记录照，和一张层次分明、冷暖交织的风光作品——中间隔着的就是下面要逐步拆解的全部操作。","b":false,"xe":"Start with the overview. The video opens (at 0:37) with raw and final side by side: a hazy record shot versus a layered, warm-cool landscape — and everything in between is what the rest of this article unpacks."},{"t":"img","f":"v01","w":852,"h":480},{"t":"h","x":"01 前期为后期留足余地","xe":"01 Capture: Leaving Room for the Edit"},{"t":"p","x":"为什么要做这么大幅度的后期？Thomas 的答案反复说过：前期是谱曲，后期是演奏——对真实进行艺术化加工之后，作品才更具传播性和艺术性。这张照片用索尼 A7R4 拍摄，由于拍的是行驶的火车，优先保证快门：虽然用 A 档，但通过调整 ISO 和光圈，把曝光时间控制在 1/640 秒左右，保证火车不糊（视频 0:37 处）。","b":false,"xe":"Why edit this heavily? Thomas's standing answer: capture is composing, post is performing — only after artistic processing does the work gain reach and expressiveness. The photo was shot on a Sony A7R IV; since the subject was a moving train, shutter came first. Even in Aperture priority, he worked ISO and aperture until exposure sat around 1/640 s so the train would stay sharp (at 0:37 in the video)."},{"t":"p","x":"光圈选 F7.1，是因为长焦视角下画面纵深大、层次多，为了保证前后都清晰，F 值不能太低，ISO 相应调到 250 左右。当时时间紧张，他并不确定最终构图——右边三角形的山体、下面大片树木、前面的河流各有各的好——于是利用机身 6000 多万像素的优势先拍下来，后期在电脑上慢慢思考再做最后的裁剪决定（视频 1:10 处）。","b":false,"xe":"F7.1 was chosen because the telephoto view stacks many layers of depth; to keep everything front to back sharp the aperture could not go wider, with ISO accordingly around 250. With time pressing, the final composition was still undecided — the triangular peaks on the right, the mass of trees below, the stream in front all had appeal — so he leaned on the body's 60-plus megapixels, shot first, and left the final crop to deliberate later at the desk (at 1:10 in the video)."},{"t":"h","x":"02 裁剪与变形：搭好画面骨架","xe":"02 Crop and Warp: Building the Frame's Skeleton"},{"t":"p","x":"后期第一步在 Camera Raw 里裁剪：原图层次虽多，但天空等无用信息太多，于是把上面的天空、下面的石头和左右两边都裁掉，只留下核心的秋色森林与铁道、远处的火车，以及最远处层峦叠嶂的红山石林（视频 1:42 处）。","b":false,"xe":"Post begins with a crop in Camera Raw: rich as the original is, too much of it is dead space like sky, so the sky above, the rocks below and both sides come off, leaving the core — autumn forest and railbed, the distant train, and far beyond it the layered red rock forest (at 1:42 in the video)."},{"t":"img","f":"v02","w":852,"h":480},{"t":"p","x":"Camera Raw 里的调整非常基础：对比度和去除薄雾肯定要加，阴影也提升，让照片从雾蒙蒙的状态变得清晰；曲线做暗部提升，HSL 工具轻微调整（视频 2:14 处）。进入 PS 后第一步先降噪—— Thomas 的习惯是进 PS 第一步降噪、输出前最后一步锐化。","b":false,"xe":"The Camera Raw adjustments stay basic: contrast and dehaze definitely go up, shadows lift, turning the hazy capture into a clear one; the curve lifts shadows and HSL gets a light touch (at 2:14 in the video). Once in Photoshop, the first step is noise reduction — Thomas's habit is to denoise first on entering PS and sharpen last, right before output."},{"t":"img","f":"v03","w":852,"h":480},{"t":"p","x":"接下来是一次变形，主要想把画面下方这块石头去掉。之后又做了第二次 Camera Raw 调整，加了一些清晰度，并用 HSL 和分离色调做进一步的色彩调整（视频 2:56 处）。随后还有第二次变形：此时天空的大片空白仍显多余，于是压缩天空面积，同时适度强化山峰的尖锐程度——拉伸一定要注意适度即可。","b":false,"xe":"Next comes a warp aimed mainly at removing the boulder at the bottom of the frame. A second Camera Raw pass follows, adding clarity and pushing colors further with HSL and Split Toning (at 2:56 in the video). Then a second warp: the sky still holds too much empty space, so its area is compressed while the peaks are made a touch more precipitous — and any such stretching must stop at moderation."},{"t":"img","f":"v04","w":852,"h":480},{"t":"h","x":"03 色彩分离：冷暖拉开层次","xe":"03 Color Separation: Depth Through Warm and Cool"},{"t":"p","x":"接下来是非常关键的一步：色彩分离。原片层次本就丰富，后期要进一步突出秋色火车与背后石林之间的层次。对层次进行分离，可以通过明度、色彩、清晰度等方法，这一步是把天空部分弄得更冷——冷色的后半部分和暖色的前半部分拉开，两步前后的对比一放出来，整体的层次感完全不一样（视频 4:07 处）。","b":false,"xe":"Then comes a pivotal step: color separation. The original already has rich layers, and the edit pushes them further — between the autumn train and the rock forest behind. Layers can be separated through brightness, color, clarity and more; here the sky is cooled, so the cool rear half recedes against the warm front, and the before/after of these two steps shows an entirely new sense of depth (at 4:07 in the video)."},{"t":"img","f":"v05","w":852,"h":480},{"t":"p","x":"接着用色彩平衡工具：地面高光部分、特别是树木的高光，加入大量黄色和红色，让暖色的呈现更好；同时中间调补充一些冷色，避免整体过于违和。最后整体再加一层冷色，意义在于统一基调——不要让上下变成两张图片，而是冷暖对比的同时保持「冷中带暖」的整体调子（视频 4:36 处）。","b":false,"xe":"Color Balance comes next: lots of yellow and red into the ground highlights, especially on sunlit foliage, to strengthen the warm rendering, with some cool added into the midtones so nothing clashes. A final overall cool layer unifies the register — the top and bottom must not read as two different photos; the frame keeps a warm-within-cool base even as warm and cool oppose each other (at 4:36 in the video)."},{"t":"p","x":"然后是可选颜色工具：选择黄色，减青（相当于加红），再加洋红和黄色。原本还偏黄绿的秋色树叶，一下变成非常浓烈的橙色——秋意更浓，而且这个橙色与山体的橙色彼此接近，画面的统一感更好。一张照片需要变化，但变化太多会乱，所以又需要统一，这背后的分寸要靠长期审美积累（视频 5:10 处）。","b":false,"xe":"Then Selective Color: pick yellows, reduce cyan (equivalent to adding red), plus a little magenta and yellow. The foliage, still yellow-green, turns a deep saturated orange — more autumnal, and closer to the orange of the rocks, tightening the image's unity. A photo needs variation, but too much turns to chaos, so it also needs unification — a balance only long-trained taste can strike (at 5:10 in the video)."},{"t":"img","f":"v06","w":852,"h":480},{"t":"h","x":"04 压暗渲染：明暗与光感","xe":"04 Darkening Passes: Light and Shadow"},{"t":"p","x":"小细节往往有大作用：火车车身这片白色要提纯。用色相饱和度工具把黄色的明度提上去——变亮的同时饱和度降低——再用蒙版把作用限制在火车区域，这条白色带子就更亮更纯净；再用曲线把火车头整体提亮，让火车更突出（视频 6:15 处）。至于原来留下的那块石头，最后权衡的结果是去掉：它对细节的贡献，不及它对杂乱的贡献。","b":false,"xe":"Small details can do outsized work: the white band of the train needed purifying. A Hue/Saturation layer raises the luminance of yellows — brighter yet less saturated — with a mask confining the effect to the train, so the white strip turns cleaner and brighter; a Curve then lifts the locomotive itself, making the train pop (at 6:15 in the video). As for the boulder originally kept for texture, the verdict was removal: what it added in detail was less than what it added in clutter."},{"t":"img","f":"v07","w":852,"h":480},{"t":"p","x":"接下来同样关键：压暗打底。色彩上已经做了冷暖文章，明暗上还要再做一层。建立一个亮度/对比度图层把整体压暗，再用蒙版——包括亮度蒙版和笔刷——把需要亮起来的地方恢复：石头的高光、画面右侧、树林被照亮的部位。明暗的对比和层次感就这样出来了（视频 7:25 处）。","b":false,"xe":"The next key move is a darkening pass. The color story is done; now the tone story. A Brightness/Contrast layer darkens the whole frame, then masks — luminosity masks plus brushwork — restore what should glow: the highlights on the rocks, the right side of the frame, the sunlit patches of forest. Contrast and layering in light emerge from this push-pull (at 7:25 in the video)."},{"t":"img","f":"v08","w":852,"h":480},{"t":"p","x":"之后是光线渲染：新建空白图层，混合模式用柔光或正常——正常的雾化效果更好，柔光明暗提升更强。前面加清晰度的操作在石头与天空交界留下了难看的白边，也要一并去除（视频 7:42 处）。然后用 Camera Raw 里的线性渐变和径向渐变，把右侧的光感提升，周边上下左右做对应的压暗——光就像从右边射过来一样。真实生活中只有很宽广的视角才能看到光线的衰减，所以在长焦画面里需要后期强化；之后再来一次整体压暗加画笔恢复，一步搞定的坏处是过渡会比较生硬。","b":false,"xe":"Light rendering follows: new blank layers set to Soft Light or Normal — Normal gives a hazier glow, Soft Light a stronger luminance push. The earlier clarity pass left ugly halos along the rock-sky boundary, which get cleaned up too (at 7:42 in the video). Then Linear and Radial Gradients in Camera Raw lift the light from the right while the edges darken in step, so the light reads as streaming in from the right — a true sidelight. In the field only a wide view shows light falling off like that, so a telephoto frame needs the reinforcement; one more global darkening with brush recovery follows, since doing it in a single pass tends to leave harsh transitions."},{"t":"img","f":"v09","w":852,"h":480},{"t":"h","x":"05 立体感与细节：最后的打磨","xe":"05 Depth and Details: The Final Polish"},{"t":"p","x":"立体感渲染是另一核心。先把天空选出来，渲染时就不会擦到天空；再用亮度蒙版选出石头的高光部分，建一个叠加混合模式的图层，用亮黄色画笔涂抹需要提亮的部位——有高亮蒙版的限制，画笔才不会侵入阴影部分、涂得非常不自然（视频 9:15 处）。然后用自由画笔进一步强化，白色提亮、黑色压暗；再把这个图层复制一遍，只对山峰最尖锐、最需要强化的区域做更进一步的立体感渲染。远景同样做加深减淡，把黑白交界的纹理渲染出来；山体层次太接近的地方，就用分层技术——下面压暗、上面提亮——把层次拉开。","b":false,"xe":"Depth rendering is the other core. First the sky is selected so the painting never touches it; a luminosity mask isolates the rock highlights, an overlay-blend layer is created, and a bright yellow brush paints where light should sit — without that mask the strokes would bleed into shadow and look unnatural (at 9:15 in the video). A freehand brush refines further, white to lift and black to darken; the layer is duplicated to concentrate extra depth rendering on the sharpest, most important peaks. The distant ridges get dodge and burn as well, strengthening their black-white texture; where two ridges sit too close in tone, the layering technique — darken below, brighten above — pulls them apart."},{"t":"img","f":"v10","w":852,"h":480},{"t":"p","x":"到这里主体完成，剩下都是细节：先盖印一个图层，在天空里加噪点，去除天空出现的色彩断层（视频 10:51 处）。路基上那些光滑反光的亮石头像麻子一样抢眼，又不是想表现的点——用亮度蒙版限制区域后直接涂黑压暗；特别亮的杂草同理压暗；火车的车灯强化一点，车头更突出；远处还没变黄的枯枝，用柔光混合模式涂上暖色，避免太违和，整体光感也更好。","b":false,"xe":"The main body is done; what remains is detail. Stamp a new layer first, then add noise into the sky to break up banding (at 10:51 in the video). The smooth, reflective bright rocks along the railbed — pockmarks that steal attention without meaning anything — get blacked down through a luminosity mask; the brightest weeds are darkened the same way; the train's headlight is strengthened so the locomotive stands out; and the withered branches that never turned yellow are painted with warm color in Soft Light mode so they stop clashing and the light feels coherent."},{"t":"img","f":"v11","w":852,"h":480},{"t":"p","x":"最后再做一次裁剪：下面多余的部分和右侧的一块山峰都去掉，画面放大之后，火车和远处的山体更突出、更有震撼力；然后整体再增加一些蓝色，魔幻感更强烈（视频 12:15 处）。","b":false,"xe":"One final crop trims the excess at the bottom and a peak on the right, so enlarging the frame makes the train and the far mountains hit harder; a touch of overall blue then sharpens the magical mood (at 12:15 in the video)."},{"t":"img","f":"v12","w":852,"h":480},{"t":"p","x":"收尾还有一个常被问到的取舍：画面里的电线杆为什么不去掉？从纯美学角度，电线杆一定要去除——它会阻碍视觉流通，让人感觉火车被什么东西挡住了。但这张照片想表达的，正是宏伟的中国自然环境中，除了壮观的石林，还有铁路、护栏这些人类基建的痕迹——在如此恶劣的自然环境下依然有人类建设的存在。内容识别填充去掉电线杆非常简单，但从内容与信息的角度，Thomas 选择保留它（视频 13:17 处）。修图的最终依据，永远是你想表达什么。","b":false,"xe":"One last judgment call people keep asking about: why keep the utility pole? Purely aesthetically it should go — it blocks the eye's path, as if something stood in the train's way. But this photo is precisely about a grand Chinese landscape where, beyond the spectacular rock forest, human infrastructure — the railway, the guardrails — persists in a harsh natural environment. Content-Aware Fill would erase the pole in seconds; from the standpoint of content and information, Thomas chose to keep it (at 13:17 in the video). The final criterion in editing is always what you want to say."},{"t":"img","f":"v13","w":852,"h":480},{"t":"quote","x":"1. 前期是谱曲、后期是演奏：快门优先定格火车，光圈保证纵深清晰，高像素为后期裁剪留足余地；2. 先搭骨架再谈色彩：裁掉无用信息、适度变形压缩天空，Camera Raw 只做基础调整；3. 层次感靠色彩与明暗双管齐下：天空压冷、前景提暖、整体统一基调，再靠压暗打底加蒙版恢复拉开明暗；4. 立体感靠亮度蒙版加画笔逐块渲染，最后为表达服务——电线杆的去留，取决于你想说什么。","xe":"1. Capture composes, post performs: shutter first to freeze the train, aperture for depth, and generous pixels to leave room for the crop; 2. Build the skeleton before color: crop away dead space, warp in moderation, and keep Camera Raw adjustments basic; 3. Layering comes from both color and tone — cool the sky, warm the foreground, unify the register, then darken globally and restore with masks; 4. Render depth block by block with luminosity masks and brushes, and let the message decide the last call — the utility pole stays or goes depending on what you want to say."},{"t":"h","x":"欢迎关注托马斯的旅行与摄影攻略","xe":"Follow Thomas for more travel & photography tips"}],"titleEn":"What Got Edited in 4 Hours? Layer-by-Layer PSD Analysis of a Landscape Masterpiece"}