{"slug":"rainy-day-post-case","title":"阴雨天照片如何后期？一个案例分析常见思路和技术","author":"Thomas看看世界","date":"2018-09-16","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247487316&idx=1&sn=85c896bdc403c1c6fc5474f2907d2dbe&chksm=eb81f130dcf678266fbda277b5c24f781a93e4928af1b38cb3700b1b5bd450c46a2f9dfbc969&scene=21#wechat_redirect","blocks":[{"t":"h","x":"Thomas看看世界","xe":"Thomas Chu Photo"},{"t":"p","x":"每周一篇教程，让摄影不再难学","b":false,"xe":"One tutorial every week, making photography easy to learn"},{"t":"p","x":"不同天气的照片，对应着不同的修图思路，如果把晴天修图的流程，生搬硬套到阴雨天，只会让照片的氛围不伦不类。","b":false,"xe":"Different weather calls for different editing mindsets. Applying a sunny-day workflow wholesale to a rainy day only leaves the photo's atmosphere neither fish nor fowl."},{"t":"p","x":"本文将以“极影评片”栏目的一张投稿作品，分析阴雨天风光的后期思路和技术。","b":false,"xe":"This article analyzes the post-processing mindset and techniques for overcast, rainy landscapes through a submission to our photo critique column."},{"t":"p","x":"投稿作品：阳光灿烂379","b":false,"xe":"Submitted work by: 阳光灿烂379"},{"t":"img","f":"img-02","w":563,"h":1000},{"t":"h","x":"托马斯点评：","xe":"Thomas's critique:"},{"t":"p","x":"这张照片，个人认为作者在表达上出现了两点问题：","b":false,"xe":"In my view, this photo has two problems of expression:"},{"t":"p","x":"一是兴趣点不明确，想展示的东西太多。作者既取入了大量的天空，想突出阴天天空的宁静。又拍入了大量的前景岩石，要展现海岛的大地纹理。","b":false,"xe":"First, the point of interest is unclear — the author tried to show too much. The frame takes in a vast sky to emphasize the calm of an overcast day, yet also includes extensive foreground rocks to show off the island's textures."},{"t":"p","x":"但天空取多了，就会削弱地面的吸引力。而地景细节取多了，则会破坏整体的安静氛围。因此这两个冲突的元素，我们只能选择其一。","b":false,"xe":"But too much sky weakens the land's pull, and too much foreground detail breaks the overall quiet mood. Of these two conflicting elements, we can only choose one."},{"t":"p","x":"比如下图是我制作的一个后期版本。我裁掉并用仿制图章抹去了所有的前景，天空和海面进一步动感模糊去除细节，后期还去掉了所有的颜色，这样阴天的宁静感才能出来，不像原图一样有各种细节去破坏这种氛围。","b":false,"xe":"The image below is an edit I made: I cropped away and clone-stamped out the entire foreground, applied motion blur to strip detail from the sky and sea, and removed all color in post — only then does the overcast serenity emerge, instead of the original's mood-breaking detail."},{"t":"img","f":"img-03","w":766,"h":1000},{"t":"p","x":"下图是我制作的另外一个版本，想表现的是法罗群岛本身的岛屿特征，因此裁掉了大量的天空，用二次构图来突出地景。","b":false,"xe":"The image below is another version I made, aiming to express the Faroe Islands' character as islands — so I cropped away much of the sky and recomposed to emphasize the landscape."},{"t":"p","x":"我在《摄影构图的核心技巧 - 不是三分法，也不是做减法》中提到过，如何构图，要取入什么样的景物，取决于我们想表达和突出的内容。构图时切忌贪多贪全。要展现的东西过多，反而什么都说不清楚。","b":false,"xe":"As I wrote in \"The Core Skill of Photographic Composition — It's Not the Rule of Thirds, Nor Subtraction\": how we compose and what we include depend on what we want to express and emphasize. Never greedily cram everything in — trying to show too much ends up saying nothing clearly."},{"t":"img","f":"img-04","w":792,"h":1000},{"t":"p","x":"作者在表达上出现的第二个问题，则是画面语言和画面元素的不和谐。原图是一个阴雨天拍摄的海岛，这种景象给我们的感受可以是孤独的，可以是宁静的，可以是阴沉的，但很难是热烈的。","b":false,"xe":"The author's second problem is a mismatch between the image's language and its elements. The original is an island shot in overcast rain; such a scene can feel lonely, tranquil, or somber — but hardly passionate."},{"t":"p","x":"但作者在色彩上选择了比较艳丽的颜色，强烈的饱和度和阴雨天的氛围有点违和，就会让观者感觉到不舒服。下面我会简单的对这张照片处理一下，让它能展现出雨天孤岛的氛围感。","b":false,"xe":"Yet the author chose rather gaudy colors; the intense saturation clashes with the rainy mood and makes viewers uncomfortable. Below I'll do a quick edit of this photo to bring out the atmosphere of a rainy, lonely island."},{"t":"p","x":"Photoshop打开作者的JPG照片，用裁剪工具裁掉天空。","b":false,"xe":"Open the author's JPG in Photoshop and crop away the sky with the Crop tool."},{"t":"img","f":"img-05","w":1000,"h":935},{"t":"p","x":"裁剪之后，画面的兴趣点更加明显。","b":false,"xe":"After cropping, the point of interest becomes much clearer."},{"t":"img","f":"img-06","w":715,"h":1000},{"t":"p","x":"之后打开Camera Raw滤镜，我的其他所有操作都在Camera Raw滤镜中进行，并没有特别复杂的技术。","b":false,"xe":"Next, open the Camera Raw filter. All my remaining steps happen inside the Camera Raw filter — no particularly complex techniques involved."},{"t":"img","f":"img-07","w":1000,"h":595},{"t":"p","x":"一上来先把自然饱和度降低80，这样阴雨天的气氛就回来了，色彩也更加耐看。","b":false,"xe":"First, drop Vibrance by 80 right away: the rainy-day mood returns instantly, and the colors become easier on the eyes."},{"t":"img","f":"img-08","w":1000,"h":743},{"t":"p","x":"现在照片色相是青色和绿色的相似色搭配，而且没有杂色，已经比较舒服。不过我想做一个黄色和青色的冷暖搭配。","b":false,"xe":"The palette is now a comfortable analogous pairing of cyan and green with no stray colors. But I want a warm-cool pairing of yellow and cyan."},{"t":"p","x":"接下来我要用的是校准面板的蓝原色色相滑块，这个面板的原理比较复杂，不过我们记住整体效果就可以了：","b":false,"xe":"Next I'll use the Blue Primary Hue slider in the Calibration panel. The panel's underlying mechanics are complex, but we only need to remember its overall effect:"},{"t":"p","x":"蓝原色色相滑块左移，照片偏向青色和橙色。","b":false,"xe":"Move Blue Primary Hue left, and the photo shifts toward cyan and orange."},{"t":"img","f":"img-09","w":1000,"h":712},{"t":"p","x":"蓝原色色相滑块右移，照片偏向紫色和绿色。","b":false,"xe":"Move Blue Primary Hue right, and the photo shifts toward purple and green."},{"t":"img","f":"img-10","w":1000,"h":705},{"t":"p","x":"这张图，我把蓝原色色相条左移-50，画面色彩往青色和黄色偏离。","b":false,"xe":"For this image, I moved the Blue Primary Hue slider left to -50, pushing the colors toward cyan and yellow."},{"t":"img","f":"img-11","w":1000,"h":714},{"t":"p","x":"不过现在青色有点过于绿了，黄色也不够偏橙，所以我继续用HSL工具中的色相滑块，微调照片的色相搭配。如果对HSL面板还不了解，可以阅读教程《学会调色，从理解HSL面板开始》。","b":false,"xe":"But the cyan now leans a bit too green, and the yellow isn't orange enough, so I'll fine-tune the hue pairing with the HSL panel's Hue sliders. If you're not familiar with the HSL panel yet, read the tutorial \"Master Color Grading by Understanding the HSL Panel.\""},{"t":"img","f":"img-12","w":1000,"h":708},{"t":"p","x":"画面饱和度现在还是有点高，继续降低HSL面板中黄色，蓝色和青色的饱和度。","b":false,"xe":"The overall saturation is still a touch high, so I'll keep lowering the saturation of yellow, blue, and aqua in the HSL panel."},{"t":"img","f":"img-13","w":1000,"h":709},{"t":"p","x":"最后再用HSL的明度滑块，压暗天空和水面的冷色，提亮植被黄色。","b":false,"xe":"Finally, use HSL's Luminance sliders to darken the cool tones of sky and water while brightening the yellow vegetation."},{"t":"img","f":"img-14","w":1000,"h":711},{"t":"p","x":"后面我会用Camera Raw滤镜中的局部调整工具：径向滤镜和渐变滤镜，进一步塑造光影并增加画面层次感。如果还没用过这两个工具，建议阅读教程《如何用局部滤镜重塑照片光影（视频教程）》","b":false,"xe":"Next I'll use Camera Raw's local adjustment tools — the Radial and Graduated Filters — to further sculpt the light and add depth. If you haven't used these tools before, read the tutorial \"How to Reshape Light and Shadow with Local Filters (video).\""},{"t":"p","x":"首先新建一个渐变滤镜，色温-3，色调-1，饱和度-5，给滤镜作用部分增加淡青色。其次曝光-20，高光-40，压暗所在区域。先在天空上拉一个渐变滤镜，压暗天空。","b":false,"xe":"First, create a Graduated Filter with Temp -3, Tint -1, Saturation -5 to add a faint cyan cast to the affected area; then Exposure -0.20 and Highlights -40 to darken it. Drag one across the sky to darken it."},{"t":"img","f":"img-15","w":1000,"h":695},{"t":"p","x":"之后用同样的参数，在地面建立多个渐变滤镜，压暗地面前景，增加影调的纵深感。","b":false,"xe":"Then, with the same settings, build several more Graduated Filters over the ground to darken the foreground and add tonal depth."},{"t":"img","f":"img-16","w":1000,"h":729},{"t":"p","x":"后面我会对天空进行提亮，在此之前先回到基本面板，高光-75，找回天空中的一些细节。","b":false,"xe":"Later I'll brighten the sky, but first return to the Basic panel and set Highlights -75 to recover some sky detail."},{"t":"img","f":"img-17","w":1000,"h":710},{"t":"p","x":"接着建立径向滤镜，曝光+0.15，阴影+20，清晰度-11，用来制作远处的光线感。","b":false,"xe":"Next, create a Radial Filter with Exposure +0.15, Shadows +20, Clarity -11 to create a sense of distant light."},{"t":"img","f":"img-18","w":1000,"h":619},{"t":"p","x":"我在天空左侧拉了8个此参数的径向滤镜，现在天空左侧好像有强烈阳光溢出云层，照亮了阴天的画面。","b":false,"xe":"I dragged eight of these Radial Filters into the left side of the sky; now it looks as if intense sunlight is spilling through the clouds, illuminating the overcast scene."},{"t":"p","x":"此时画面左侧其实已经过曝，但这不是问题。因为我在新书《风光摄影后期基础》中提到过：技术服务于形式，形式服务于内容。","b":false,"xe":"The left side of the frame is actually blown out at this point — but that's not a problem. As I wrote in my book \"Foundations of Landscape Photography Post-Processing\": technique serves form, and form serves content."},{"t":"p","x":"并不是画面中细节越多越好，如果适当的过曝能提升画面的氛围感和层次感，那过曝一点也没有关系。","b":false,"xe":"More detail is not always better. If a touch of overexposure strengthens the atmosphere and depth of an image, then a little clipping is perfectly fine."},{"t":"img","f":"img-19","w":1000,"h":713},{"t":"p","x":"之后，我又在瀑布处拉了三个径向滤镜，滤镜参数是高光+100，这样拉的时候只有瀑布的高光会被提亮，周围的岩石不会被影响。","b":false,"xe":"After that, I dragged three more Radial Filters onto the waterfall with Highlights +100, so only the waterfall's highlights are lifted while the surrounding rocks stay untouched."},{"t":"img","f":"img-20","w":1000,"h":844},{"t":"p","x":"现在我觉得前景苔原的色彩还是太抢眼了，所以用径向滤镜覆盖，高光-34，饱和度-27，进一步减淡。","b":false,"xe":"The foreground tundra still felt too eye-catching, so I covered it with another Radial Filter at Highlights -34, Saturation -27 to tone it down further."},{"t":"img","f":"img-21","w":1000,"h":720},{"t":"p","x":"这张照片，法罗群岛的地面特征是我想表现的东西，因此我又建立了一个径向滤镜，清晰度+24，锐度+24，来强化一下前景石头和苔原的质感。","b":false,"xe":"The terrain character of the Faroe Islands is what I wanted to express in this photo, so I added one more Radial Filter with Clarity +24 and Sharpness +24 to enhance the texture of the foreground rocks and tundra."},{"t":"img","f":"img-22","w":1000,"h":707},{"t":"p","x":"最后用曲线工具，提亮黑场，压缩白场，去除画面中的死黑和死白。阴天给人的感觉是柔和的，过于强烈的黑色和白色会破坏这种感觉，所以最后我用了这一步。","b":false,"xe":"Finally, I used the Curves tool to lift the black point and compress the white point, removing any dead blacks and dead whites. Overcast days feel soft, and harsh blacks and whites would break that feeling — hence this last step."},{"t":"img","f":"img-23","w":1000,"h":704},{"t":"p","x":"简单的几步，我们就调整完了这张照片，当然不同的读者会有不同的爱好。来对比一下3种样式，你更喜欢哪种风格呢？","b":false,"xe":"With a few simple steps, the edit is done. Different viewers will have different preferences, of course — compare the three styles below; which do you like best?"},{"t":"img","f":"img-24","w":563,"h":1000},{"t":"img","f":"img-25","w":715,"h":1000},{"t":"p","x":"欢迎关注我的图虫：Thomas看看世界","b":false,"xe":"Feel free to follow me on Tuchong: Thomas Chu Photo"},{"t":"p","x":"https://thomaskksj.tuchong.com","b":false,"xe":"https://thomaskksj.tuchong.com"},{"t":"h","x":"极影评片参与方式：","xe":"How to join the photo critique column:"},{"t":"img","f":"img-26","w":280,"h":280},{"t":"h","x":"长按上方二维码直接参与评片活动","xe":"Long-press the QR code above to join the critique event directly"},{"t":"p","x":"或参与者至图虫网首页活动版块的“极影评片”活动主页：","b":false,"xe":"Or visit the critique event page in the Activities section of the Tuchong homepage:"},{"t":"p","x":"https://tuchong.com/events/559403/","b":false,"xe":"https://tuchong.com/events/559403/"},{"t":"p","x":"参与活动。照片题材限所有风光类摄影作品，包括自然风光，城市风光，旅行风光。","b":false,"xe":"Join the event. Subjects are limited to landscape photography, including natural scenery, cityscapes, and travel landscapes."},{"t":"h","x":"欢迎关注@Thomas看看世界，","xe":"Follow @Thomas Chu Photo,"},{"t":"h","x":"每周学会一个摄影技能。","xe":"and learn one photography skill every week."}],"titleEn":"How to Edit Rainy-Day Photos: A Case Study in Common Ideas and Techniques"}