{"slug":"rainy-day-shooting-3tips","title":"阴雨天如何拍？3招教你在阴天也能拍到好片","author":"Thomas看看世界","date":"2020-05-02","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247490468&idx=1&sn=3bd2c0d415f6271a4fc10f10652efd54&chksm=eb81e5c0dcf66cd6b76093bfa01966026297150d84d9a09d68882cda9f11256b45ab3a2aa589&scene=21#wechat_redirect","blocks":[{"t":"h","x":"Thomas看看世界","xe":"Thomas Chu Photo"},{"t":"p","x":"在日常旅行和生活中，阴天和雨天是我们常常会遇到的天气，这种天气下光线和色彩都比较平淡，很多朋友不知道如何进行拍摄。","b":false,"xe":"In daily travel and life, overcast and rainy weather is what we often encounter. The light and colors are rather flat in such weather, and many friends don't know how to shoot in it."},{"t":"p","x":"特别是旅行的时候，机会只有1次，阴雨天也不得不拍些照片。其实对于很多摄影师而言，阴雨天反而是他们的最爱，转变思路很关键！","b":false,"xe":"Especially when traveling, you may only get one chance, and you have to take some photos even in the rain. In fact, for many photographers, overcast and rainy days are their favorite — changing your mindset is the key!"},{"t":"p","x":"今天托马斯就会和大家分享三个思路，让大家在阴雨天也能拍出不错的作品。","b":false,"xe":"Today Thomas will share three ideas to help you take good works even on overcast and rainy days."},{"t":"img","f":"img-02","w":1080,"h":786},{"t":"h","x":"视频教程","xe":"Video Tutorial"},{"t":"bili","bv":"BV1jQ4y1N7Dk","bpic":"bili-1","bt":"旅行拍摄遇到阴雨天？3招教你阴天拍大片！"},{"t":"p","x":"这一篇是上面视频的完整图文整理。Thomas 拍摄这期教程时正赶上贵州连日阴雨，索性把「坏天气」当成课题：阴雨天到底该怎么拍？视频用三招给出答案——前期聚焦小景、前期抓住蓝调与夜晚、后期渲染冷色调，并带回了酒店用 Camera Raw 实际调了一张贵州梯田。本文按三招展开，配上视频里的要点卡与关键帧截图，适合先看图掌握框架，再到视频里听完整口播。","xe":"This is the fully illustrated companion to the video above. Thomas was caught in days of relentless rain while shooting in Guizhou, so he turned the 'bad weather' into the topic itself: how do you actually shoot on overcast, rainy days? The video answers with three tricks — shoot small scenes, exploit the blue hour and night, and grade a cool color cast in post, ending with a live Camera Raw edit of a Guizhou terraced-field frame. The three tricks are unpacked below with the video's on-screen cards and keyframes.","b":false},{"t":"p","x":"先看总览。阴雨天有两个绕不开的短板：影调平淡——没有晴天强烈的光比和明暗反差，白茫茫灰茫茫一片；色彩平淡——尤其白天，画面缺乏突出的颜色（视频 1:02 处的要点卡）。三招全是围绕「扬长避短」展开：前两招在拍摄端避开短板，第三招在后期端把缺陷转成氛围。","xe":"Start with the overview. Overcast days have two unavoidable weaknesses: flat tone — none of the strong contrast of sunny light, just a washed-out grey wash; and flat color — especially in daytime, nothing stands out (see the summary card at 1:02 in the video). All three tricks play to the strengths instead: the first two dodge the weaknesses at capture, the third turns the flaw into mood in post.","b":false},{"t":"img","f":"v01","w":852,"h":480},{"t":"h","x":"01 第1招：聚焦小景，突出结构与故事","xe":"01 Trick 1: Shoot Small Scenes for Structure and Story"},{"t":"p","x":"第一个前期技巧非常简单：多聚焦局部，去拍那些小景。原理在于观众的注意力——看小景时，观众带入的是它的结构、秩序、质感，或者某一个故事；而看全景时，视线容易被天空、前景各种乱七八糟的元素拉走，最后只剩灰蒙蒙一片的平淡影调和色彩（视频 1:51 处）。","xe":"The first field trick is simple: frame tighter and go for small scenes. It is about where the viewer's attention lands — in a small scene they read its structure, order, texture, or a little story; in a wide view the eye wanders to the sky, the foreground, all the clutter, and what is left is that flat grey tonality (at 1:51 in the video).","b":false},{"t":"img","f":"v02","w":852,"h":480},{"t":"p","x":"视频里的对比很直观：同样是阴天的村寨，大全景显得杂乱无色彩（视频 2:10 处）；而一旦把镜头收到局部——雾气中的山坡、层层叠叠的黑瓦木楼——小景就重点突出了结构，弱化了色彩的影响（视频 2:16 处）。","xe":"The contrast in the video is immediate: the same overcast village, shot wide, looks cluttered and colorless (at 2:10); tighten the frame to a foggy hillside or layers of black-tiled wooden roofs, and the small scene highlights structure while the lack of color stops mattering (at 2:16 in the video).","b":false},{"t":"img","f":"v03","w":852,"h":480},{"t":"img","f":"v04","w":852,"h":480},{"t":"img","f":"v05","w":852,"h":480},{"t":"h","x":"02 第2招：抓住蓝调时刻与夜晚灯光","xe":"02 Trick 2: Chase the Blue Hour and Night Lights"},{"t":"p","x":"第二个技巧是利用特殊的时刻。阴天白天确实平淡，但有两个时刻依然充满色彩。第一个是蓝调时刻——日落后或日出前的约半个小时，无论晴天、多云还是阴雨天，天空都会变成蓝色的调子（视频 2:46 处）；更重要的是此时城市灯光亮起，暖色灯光与冷色天空一对比，照片立刻有了丰富的色彩。","xe":"The second trick is to exploit special moments. Overcast daylight is indeed dull, but two moments stay colorful. The first is the blue hour — the half hour or so after sunset or before sunrise, when the sky turns blue no matter the weather (at 2:46 in the video). Better still, city lights come on: warm lamps against the cool sky, and the photo instantly gains rich color.","b":false},{"t":"img","f":"v06","w":852,"h":480},{"t":"p","x":"视频里用太阳高度曲线和同一机位的三张对比讲清了这件事：日落后天空亮度陡降，从日落、蓝调到黑夜，光线从灰白过渡到深邃的蓝，再沉入全黑（视频 2:48 与 3:24 处）。蓝调是阴天白天之外唯一的「彩色窗口」。","xe":"The video nails it with a sun-elevation curve and three frames from the same vantage: after sunset the sky brightness falls off a cliff, and from sunset to blue hour to night the light shifts from pale grey to deep blue to pitch black (at 2:48 and 3:24 in the video). The blue hour is the only 'color window' besides daytime.","b":false},{"t":"img","f":"v07","w":852,"h":480},{"t":"img","f":"v08","w":852,"h":480},{"t":"p","x":"第二个时刻是夜晚。夜幕下无论晴天还是阴天，天空都是黑的，没有区别；但只要地面灯光亮起来，五颜六色的灯火正好抵消了阴雨天色彩不足的缺陷（视频 3:19 处）。所以说蓝调时刻和晚上，是阴雨天拍摄最好的两个时间点。","xe":"The second moment is night. After dark the sky is black in any weather — no difference at all; and once the ground lights come on, their colorful glow offsets exactly what overcast weather lacks (at 3:19 in the video). The blue hour and night are the two best windows for rainy-day shooting.","b":false},{"t":"img","f":"v09","w":852,"h":480},{"t":"h","x":"03 第3招：后期渲染冷色调氛围","xe":"03 Trick 3: Grade a Cool Atmosphere in Post"},{"t":"p","x":"前两招都在前期扬长避短，第三招回到后期。阴雨天的影调和色彩，其实非常适合渲染安静、宁静、低沉、忧郁的氛围——后期给照片增加冷色调，就能把这个氛围烘托出来（视频 3:39 处）。视频先展示了两个调色前后的案例：灰白的城堡湖景与村寨，加上冷色调后立刻有了清冷的空气感（视频 3:47 处）。","xe":"The first two tricks happen at capture; the third returns to post. The flat tone and muted color of rainy days are actually perfect for quiet, calm, somber, melancholic moods — push a cool color cast in post and that mood emerges (at 3:39 in the video). The video opens the section with two before/afters: a grey castle lake and a village that gain an airy chill once the cool grade lands (at 3:47 in the video).","b":false},{"t":"img","f":"v10","w":852,"h":480},{"t":"p","x":"实操案例是一张贵州梯田——这种大场景确实广角更出彩，所以 Thomas 决定用后期给它赋予冷色调，克服阴雨天没有色彩的问题（视频 4:52 处）。回到酒店，把海量照片导入硬盘、在图库中筛出目标文件（视频 4:46 处），然后用 Adobe Camera Raw 打开这张梯田 RAW 文件（视频 5:02 处）。","xe":"The live demo is a Guizhou terraced-field frame — a grand view that genuinely shines at wide angle, so Thomas decides to grade it cool in post to beat the colorless weather (at 4:52 in the video). Back at the hotel he imports the cards, culls the target file in the catalog (at 4:46), and opens the terraced-field RAW in Adobe Camera Raw (at 5:02 in the video).","b":false},{"t":"img","f":"v11","w":852,"h":480},{"t":"p","x":"加冷色调最简单的工具是白平衡：色温滑块往右移照片变暖，往左移就变冷。这里把色温设置在 4600 左右，照片有了不错的冷调基调（视频 6:01 处）。但白平衡的短板也很明显——它对画面所有的地方一视同仁地盖蓝，阴影区域也被盖上一层蓝色，整张照片像蒙了块蓝色板子、白平衡没调对一样，并不舒服。","xe":"The simplest cool-grade tool is white balance: drag the Temp slider right for warmer, left for cooler. Setting it around 4600 gives the photo a decent cool base (at 6:01 in the video). But WB has an obvious flaw — it paints everything blue uniformly, shadows included, and the whole frame looks like a wrongly balanced photo behind a blue sheet of glass. Not comfortable.","b":false},{"t":"img","f":"v12","w":852,"h":480},{"t":"p","x":"更精细的工具是分离色调，它可以给高光和阴影分别增加不同的颜色（视频 6:07 处）。做法：高光里增加一个偏青的颜色，按住 Alt 键移动色相滑块可以实时预览正在加的是哪种颜色；选 190 左右的色相，再提升饱和度——高光便染上那种漂亮梦幻的青色调，与整张照片的蓝调形成呼应（视频 6:43 处）。","xe":"The finer tool is Split Toning, which tints highlights and shadows separately (at 6:07 in the video). The recipe: add a cyan-leaning hue to the highlights — hold the Alt key while dragging the Hue slider to preview exactly which color you are adding; pick a hue around 190 and raise Saturation, and the highlights take on that lovely dreamy cyan that plays off the photo's blue base (at 6:43 in the video).","b":false},{"t":"img","f":"v13","w":852,"h":480},{"t":"p","x":"阴影处则反其道而行：刚才白平衡给阴影盖的那层难看的蓝色，用它的互补色黄色来对冲。选黄色色相，饱和度不用给多——给多了照片又变黄，一点点就够，比如 3 左右，把阴影里那点蓝色冲掉即可（视频 7:27 处）。","xe":"The shadows go the opposite way: that ugly blue WB cast is neutralized with its complementary color, yellow. Pick a yellow hue and keep Saturation low — too much and the photo turns yellow; just a touch, around 3, is enough to cancel the blue in the shadows (at 7:27 in the video).","b":false},{"t":"p","x":"分离色调加白平衡两步下来，灰蒙蒙的原片一下子变成清冷的蓝色调，前后对比氛围完全不同（视频 7:38 处）。在 OLED 屏上看，照片的层次和细节依然丰富，后期还可以进一步渲染云雾的层次感和局部细节，统一色彩氛围后便得到最终的成片（视频 7:58 处）。","xe":"Split Toning plus the white-balance step turn the grey raw file into a chilled blue scene — the before/after moods are worlds apart (at 7:38 in the video). On the OLED screen the tonal layers and detail hold up well; refine the mist's layering and local detail, unify the color atmosphere, and the final image is done (at 7:58 in the video).","b":false},{"t":"img","f":"v14","w":852,"h":480},{"t":"quote","x":"1. 阴雨天两大短板是影调平淡、色彩平淡，三招都围绕扬长避短；2. 前期聚焦局部小景，让观众注意力落在结构、秩序、质感与故事上，绕开灰蒙蒙的全景；3. 抓住蓝调时刻与夜晚两个窗口——冷色天空配暖色灯光，夜景灯火正好抵消色彩不足；4. 后期用白平衡压低色温定基调，再用分离色调给高光加青（Alt 键预览色相约 190）、阴影加微量黄色对冲，把阴天渲染成清冷宁静的氛围。","xe":"1. Overcast days suffer two weaknesses — flat tone and flat color — and all three tricks play around them; 2. Frame tight on small scenes so the viewer reads structure, order, texture and story instead of a grey wide view; 3. Use the two color windows, blue hour and night — cool sky against warm lamps, city lights offsetting the missing color; 4. In post, set the base with a lower color temperature, then Split Tone the highlights cyan (Alt-drag to preview, hue about 190) and the shadows a whisper of yellow, turning the gloom into a calm, chilly atmosphere."},{"t":"h","x":"欢迎关注托马斯的旅行与摄影攻略","xe":"Follow Thomas for more travel and photography tips"}],"titleEn":"How to Shoot on Rainy Days: 3 Tricks for Great Shots in Overcast Weather"}