{"slug":"real-purpose-of-post","title":"摄影后期就是PS视觉魔法吗？职业摄影师分享后期真正作用~","author":"Thomas看看世界","date":"2023-01-29","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247497001&idx=1&sn=d9a81e41e141c65249a725c3958c3ba8&chksm=eb820b4ddcf5825bd6ec49559c456a32b615e83075bbc81b6a6547697715e7d2535b6aefd5d4&scene=21#wechat_redirect","blocks":[{"t":"p","x":"为什么很多摄影初学者做后期时总是找不到方向，因为他们根本就没有方向，东拉拉西调调完全不知道调这些参数要干啥。","b":false,"xe":"Why do so many beginners feel lost when post-processing? Because they have no direction at all — dragging sliders here and there without knowing what those adjustments are for."},{"t":"p","x":"理解摄影后期的三大作用，才能让我们更好的进行调色和处理。","b":false,"xe":"Only by understanding the three major roles of post-processing can we grade and edit better."},{"t":"p","x":"无论是弥补前期缺陷，还是增强视觉效果，以及更重要的注入个人的想法和风格，都是摄影后期的重要作用。","b":false,"xe":"Making up for in-camera shortcomings, enhancing visual impact, and — most importantly — injecting your own ideas and style: these are the essential roles of post-processing."},{"t":"img","f":"img-01","w":1080,"h":764},{"t":"h","x":"视频","xe":"Video"},{"t":"bili","bv":"BV1ZY4y1R7Ry","bpic":"bili-1","bt":"摄影后期就是PS视觉魔法吗？职业摄影师分享后期真正作用~"},{"t":"p","x":"这一篇是上面视频的图文整理。很多初学者做后期时东拉拉西调调，不知道自己在干什么——托马斯在这期新年第一讲里，把「摄影后期到底有什么用」讲透了：不是简单的视觉魔法，而是三件更重要的事。全文配了视频关键帧截图，适合先读文字建立框架，再回视频听细节。","xe":"This is the illustrated companion to the video above. Many beginners push sliders around with no idea what they are actually doing — in this New Year opening lesson, Thomas explains what post-processing is really for: not just visual magic, but three far more important jobs. Keyframe screenshots are included throughout; skim the text for the framework, then revisit the video for the details.","b":false},{"t":"p","x":"先看总览。下面这张大纲截自视频 1:08 处，三条主线一目了然：弥补前期缺陷、强化视觉效果、注入个人的想法情绪风格与观念。下文按这个顺序逐一展开。","xe":"Start with the overview: this outline, captured at 1:08 in the video, lays out the three threads — fixing capture limitations, enhancing the visual result, and injecting personal ideas, emotion, style and vision. Each is unpacked below in that order.","b":false},{"t":"img","f":"v01","w":852,"h":480},{"t":"h","x":"01 弥补前期缺陷：多张合成的时代","xe":"01 Fixing Capture Limits: the Era of Multi-Frame Blends"},{"t":"p","x":"第一个作用是弥补前期的缺陷，在如今多张拍摄合成的时代，这一条越来越重要。最典型的就是大光比场景：视频 1:16 处这张照片，太阳和前景的流水草甸都想看清——现场人眼确实都能看到，可相机做不到。按太阳周边的云曝光，地面就漆黑一片；按地面曝光，云层又全部过曝（视频 1:36 与 1:47 处分别演示）。","xe":"The first purpose is fixing the limitations of capture, and in today's era of multi-frame compositing it matters more than ever. The classic case is extreme dynamic range: in the frame at 1:16, both the sun and the grassy river in the foreground need to read well — your eye can handle it on site, but the camera cannot. Expose for the clouds around the sun and the ground goes pitch black; expose for the ground and the clouds blow out completely (demonstrated at 1:36 and 1:47 in the video).","b":false},{"t":"img","f":"v02","w":852,"h":480},{"t":"img","f":"v03","w":852,"h":480},{"t":"p","x":"解决办法就是前期拍包围曝光、后期做 HDR 合成。后期必须和前期结合起来：当你了解景深合成、曝光合成这些技术之后，前期拍摄时就会主动为它们留好素材。比如视频 2:04 处这张冰洞照片，前后景为什么都这么清晰锐利？其实是分开拍的——先对焦曝光后面的雪山，再针对前景的枯树对焦曝光；单独看针对前景那张，雪山早已过曝并且完全在景深之外糊掉了，合成后才两全其美（视频 2:24 处）。","xe":"The fix is bracketing in the field and HDR blending in post — post and capture have to work together, because once you understand techniques like focus stacking and exposure blending, you deliberately shoot for them. Take the ice-cave photo at 2:04: why are foreground and background both razor sharp? It was shot separately — focus and expose for the snow mountain first, then for the dead trees in front. On its own, the foreground frame leaves the mountain overexposed and far outside the depth of field; blended, you get the best of both (at 2:24 in the video).","b":false},{"t":"img","f":"v04","w":852,"h":480},{"t":"p","x":"托马斯现在最推崇的技术是时间合成。视频 2:47 处这张夜景：环境这么暗，为什么画面能这么干净？因为地面先用 ISO100 曝光十几秒，得到一个纯净的底；再开高 ISO、稍微欠曝一点，用高速快门抓拍人物，最后把人合成进干净背景。极光照片同理——极光某瞬间的飘动彩带用高感光度定格，再与低感光度的地面合成；如果它还是一张全景接片，原片几百张、接片十几张，就更加考验前后期的功力了（视频 3:26-3:50 处）。","xe":"The technique Thomas now champions most is the time blend. In the night scene at 2:47, how can such a dark environment look this clean? The ground is shot first at ISO 100 with a ten-plus-second exposure for a noise-free base; then a high-ISO, slightly underexposed fast shutter frame freezes the person, who is blended into the clean background later. Auroras work the same way — the flying ribbons at a given instant are frozen at high ISO, then blended with a low-ISO ground; and if the image is also a panorama stitch, with hundreds of source files and a dozen stitched rows, it truly tests both your capture and post skills (at 3:26-3:50 in the video).","b":false},{"t":"img","f":"v05","w":852,"h":480},{"t":"img","f":"v06","w":852,"h":480},{"t":"h","x":"02 强化视觉效果：摄影是做减法","xe":"02 Enhancing the Visual: Photography Is Subtraction"},{"t":"p","x":"第二个作用是强化视觉效果。视频 4:00 处这张布达拉宫：原图前景的建筑杂乱、破坏气氛，后期干脆整体压暗，庄严神圣的氛围立刻就出来了。摄影是一门做减法的艺术，后期要做的正是减法——把干扰画面的元素压下去、删掉，再把留下来的部分调得赏心悦目（视频 4:05-4:18 处）。","xe":"The second purpose is enhancing the visual result. Take the Potala Palace at 4:00: the original's foreground buildings are cluttered and ruin the mood, so in post they are simply darkened as a whole — and the solemn, sacred atmosphere instantly emerges. Photography is the art of subtraction, and post is where you subtract: push down or remove anything that distracts, then polish what remains until it delights (at 4:05-4:18 in the video).","b":false},{"t":"img","f":"v07","w":852,"h":480},{"t":"img","f":"v08","w":852,"h":480},{"t":"p","x":"强化视觉还包括一系列更细的手术：加强冷暖对比和光感，让照片更令人印象深刻；雪山在原图里不明显，就压暗天空、提亮雪山把它衬出来；地平线明明是水平的，可远处山体由左到右不断变高，让人感觉画面歪了，就后期强行拉平；原图里有两个人，稍稍破坏氛围，就处理成只留一个（视频 4:40-5:23 处）。再比如视频 5:24 处的沙漠，原图满是车辙、脚印和杂草，全部去除之后，主体在视觉上立刻突出起来。","xe":"Visual enhancement also involves finer surgery: strengthening warm-cool contrast and the sense of light so the image sticks in memory; darkening the sky and brightening a snow mountain that barely reads in the original; forcibly leveling a horizon that is technically level but looks tilted because the peaks rise from left to right; and removing one of two people who dilute the mood (at 4:40-5:23 in the video). Likewise with the desert at 5:24: the original is full of tire tracks, footprints and weeds — once they are all removed, the subject immediately stands out.","b":false},{"t":"img","f":"v09","w":852,"h":480},{"t":"h","x":"03 注入想法情绪与风格：从记录到表达","xe":"03 Injecting Ideas, Emotion and Style: From Record to Expression"},{"t":"p","x":"第三个作用，托马斯认为最重要：注入个人的想法、情绪、风格和观念。拍照不是做纯粹的科学记录，我们不是新闻报道，也不是天文台账，而是在做一件有个人创意的事。想法和风格在选题、构图时就已开始注入，而后期是那个更强的工具——它让你的照片不是一张死板的风景，而是你看到的风景、你眼中的风景。刷 INS 时看到一张照片就能猜出摄影师是谁，靠的就是这种强烈的个人风格；对职业摄影师和进阶爱好者来说，这一点都极其重要（视频 5:42-6:40 处）。","xe":"The third purpose, in Thomas's view the most important one: injecting personal ideas, emotion, style and vision. Photography is not pure scientific recording — we are not news reporters or astronomical surveyors; we are doing something creative. Ideas and style start flowing in at the concept stage, when choosing a subject and a composition, and post-processing is the stronger tool: it makes the photo not a rigid piece of scenery but the scene as you saw it, the landscape in your eyes. On Instagram, when one glance at a photo tells you who shot it, that is personal style at work — vital for professionals and advanced hobbyists alike (at 5:42-6:40 in the video).","b":false},{"t":"img","f":"v10","w":852,"h":480},{"t":"p","x":"视频 6:44 处这张湖面照片，调整其实非常简单：去除水上杂质、整体压暗、再偏蓝一点。为什么要这么做？因为拍摄时是在无人区，周边一百公里没有人烟，坐渔船再徒步才到达，那种孤寂感是照片想表达的核心——而原图表达不出当时的心境，所以必须把想说的东西调进画面里。","xe":"The lake photo at 6:44 involves a very simple edit: clean up the debris on the water, darken the whole frame, and shift it slightly blue. Why? Because the shot was taken in no-man's-land — not a soul for a hundred kilometres, reached by fishing boat and then a hike — and that desolation is what the photo is about. The original simply cannot convey the mood of that moment, so the feeling has to be graded into the frame.","b":false},{"t":"p","x":"更大胆的改动在视频 7:24 处的格陵兰：原图有蓝天，白平衡也不是这样，旁边还有村子里的其他房屋。托马斯把周围的房屋都 P 掉了——虽然放低机位也能实现，但会带来别的构图问题——只留一座孤零零的房子。因为在他的认识里，北极就是那个约五分之一于中国大小的格陵兰岛上，只生活着五六万人的、极其孤独的地方。真实的北极可能是左边那样，但他想表现的北极是右边这样（视频 8:01 处）。","xe":"A bolder intervention is the Greenland frame at 7:24: the original has a blue sky, a different white balance, and other village houses alongside. Thomas removed the neighbouring houses — lowering the camera position could have achieved it too, but introduced other compositional problems — leaving one solitary building. In his mind, the Arctic means an island roughly one-fifth the size of China, Greenland, home to only fifty or sixty thousand people: profound isolation. The real Arctic may look like the left image; the Arctic he wants to express looks like the right one (at 8:01 in the video).","b":false},{"t":"img","f":"v11","w":852,"h":480},{"t":"p","x":"视频 8:16 处这张海边日落更典型：真实的场景其实极其震撼——海堤挡住了波浪，整个大海海天一色如同镜面倒影。但托马斯还是花功夫做了修改，因为真实场景必然带着凌乱（热力学定律决定了画面里总有杂乱的部分），而且它不符合他想表现的氛围。去除杂乱、把色调调得更粉之后，浪漫的情绪就出来了——一张震撼的场景照，变成了一张带着你主观情绪的照片。桂林那组青色调同理：观众看到作品的第一反应是「这不是托马斯拍的桂林吗」，而不仅仅是「桂林风景真好看」——客观的风景从此带上了摄影师的主观风格（视频 9:11-9:42 处）。","xe":"The seaside sunset at 8:16 is an even better example: the real scene was stunning — the breakwater blocked every wave, and sea and sky merged into a mirror. Yet Thomas still took the trouble to modify it, because a real scene inevitably carries clutter (the laws of thermodynamics guarantee some mess in any frame), and because it did not match the mood he wanted. Remove the clutter, grade it pinker, and the romance emerges — a stunning documentary scene becomes a photograph carrying your subjective emotion. The same logic behind his teal-toned Guilin series: viewers' first reaction is \"that's Thomas's Guilin,\" not merely \"pretty scenery\" — the objective landscape now carries the photographer's personal style (at 9:11-9:42 in the video).","b":false},{"t":"img","f":"v12","w":852,"h":480},{"t":"p","x":"就连现实主义题材也离不开后期表达。「火车看中国」系列里，车窗内景和窗外风景都是实拍，但托马斯会做后期合成：一来玻璃有反光杂物、内外景深曝光光比巨大；二来是为了深化主题。视频 10:25 处这张，拍摄于拉林铁路复兴号开通的第二天，当地一对藏族家庭来体验最新的商务舱，见证西藏的发展。原图窗外只有一根电线杆和一堆不明所以的树林，怎么表现时空的错位？于是后期把窗外换成了一张西藏传统的高原集市——一位老人坐在复兴号动车组里，看着窗外的集市，现代与传统的对话立刻充分起来（视频 10:40-11:02 处）。","xe":"Even documentary-realist work relies on post for expression. In the \"Trainscape China\" series, both the interior and the view outside the window are real photographs, yet Thomas composites them in post: partly because the glass carries reflections and clutter with a huge exposure gap between inside and outside, and partly to deepen the theme. The frame at 10:25 was taken on the second day of the Lhasa–Nyingchi Fuxing EMU service, when a local Tibetan family rode the new business cabin to witness Tibet's development. In the original, the window frames nothing but a utility pole and an anonymous stretch of trees — hardly a way to convey the collision of eras. So the view outside was replaced with a traditional Tibetan highland market: an elderly passenger sitting inside the modern train, gazing at the market beyond the glass — the dialogue between tradition and modernity becomes far fuller (at 10:40-11:02 in the video).","b":false},{"t":"img","f":"v13","w":852,"h":480},{"t":"h","x":"04 后期的度：从三国志到三国演义","xe":"04 How Much Is Too Much: From Chronicle to Romance"},{"t":"p","x":"托马斯常用一个类比：一段文字真正从历史变成文学作品，靠的是《三国志》到《三国演义》的那一步「演义」。摄影也一样——从一门纯粹记录的科学，融入更多主观的创作和艺术加工之后，照片才拥有更强的表现力（视频 11:05-11:36 处）。","xe":"Thomas likes an analogy: what turns a piece of writing from history into literature is the step from Records of the Three Kingdoms to Romance of the Three Kingdoms — the deliberate act of storytelling. Photography works the same way: once a pure science of recording absorbs subjective creation and artistic shaping, the photograph gains real expressive power (at 11:05-11:36 in the video).","b":false},{"t":"p","x":"当然，并不是每一张照片都要做大合成或天马行空的想象，很多照片只需对影调和色彩做简单的调整，感觉就完全不一样了。关键在于理解后期的作用：你拉的那些曲线、调的那些参数，不只是为了让视觉效果更强，一方面是在弥补前期的缺陷，更重要的是把个人的想法、情绪、风格和观念注入照片——这正是现代摄影师的必修课（视频 11:41-12:12 处）。","xe":"That said, not every image needs heavy compositing or wild imagination — many need nothing more than a simple adjustment of tone and color to feel completely different. What matters is understanding what post is for: the curves you pull and the sliders you drag are not just about stronger visuals; on one hand they repair the limits of capture, and more importantly they inject your ideas, emotions, style and vision into the photograph — the essential lesson for the modern photographer (at 11:41-12:12 in the video).","b":false},{"t":"quote","x":"1. 摄影后期三大作用：弥补前期缺陷、强化视觉效果、注入个人的想法情绪风格与观念；2. 光比、景深、快门搞不定的场景，用包围曝光、景深合成、时间合成在前期留好素材，后期合成收尾；3. 强化视觉就是做减法——压暗干扰、去除杂物、拉平地平线，让主体突出；4. 高阶的后期是表达：把当时的心境与观念调进画面，让风景带上你的名字，但不必每张照片都大动干戈。","xe":"1. Post-processing serves three purposes: fixing capture limits, enhancing the visual result, and injecting personal ideas, emotion, style and vision; 2. For scenes defeated by dynamic range, depth of field or shutter speed, bracket, focus-stack and time-blend — shoot the raw material in the field, finish the blend in post; 3. Visual enhancement is subtraction — darken distractions, remove clutter, level the horizon, let the subject stand out; 4. Higher-level editing is expression: grade the mood and the idea of that moment into the frame so the landscape carries your name — but not every photo needs radical surgery."},{"t":"h","x":"PPT","xe":"PPT"},{"t":"img","f":"img-02","w":1080,"h":608},{"t":"img","f":"img-03","w":1080,"h":608},{"t":"img","f":"img-04","w":1080,"h":608},{"t":"img","f":"img-05","w":1080,"h":608},{"t":"img","f":"img-06","w":1080,"h":608},{"t":"img","f":"img-07","w":1080,"h":608},{"t":"img","f":"img-08","w":1080,"h":608},{"t":"img","f":"img-09","w":1080,"h":608},{"t":"img","f":"img-10","w":1080,"h":608},{"t":"img","f":"img-11","w":1080,"h":608},{"t":"img","f":"img-12","w":1080,"h":608},{"t":"img","f":"img-13","w":1080,"h":608},{"t":"img","f":"img-14","w":1080,"h":608},{"t":"img","f":"img-15","w":1080,"h":608},{"t":"img","f":"img-16","w":1080,"h":608},{"t":"img","f":"img-17","w":1080,"h":608},{"t":"img","f":"img-18","w":1080,"h":608},{"t":"img","f":"img-19","w":1080,"h":608},{"t":"img","f":"img-20","w":1080,"h":608},{"t":"img","f":"img-21","w":1080,"h":608},{"t":"img","f":"img-22","w":1080,"h":608},{"t":"img","f":"img-23","w":1080,"h":608},{"t":"img","f":"img-24","w":1080,"h":608},{"t":"img","f":"img-25","w":1080,"h":608},{"t":"img","f":"img-26","w":1080,"h":608},{"t":"img","f":"img-27","w":1080,"h":608},{"t":"img","f":"img-28","w":1080,"h":608},{"t":"img","f":"img-29","w":1080,"h":608},{"t":"img","f":"img-30","w":1080,"h":608},{"t":"img","f":"img-31","w":1080,"h":608},{"t":"img","f":"img-32","w":1080,"h":608},{"t":"img","f":"img-33","w":1080,"h":608},{"t":"img","f":"img-34","w":1080,"h":608},{"t":"img","f":"img-35","w":1080,"h":608},{"t":"img","f":"img-36","w":1080,"h":608},{"t":"img","f":"img-37","w":1080,"h":608},{"t":"img","f":"img-38","w":1080,"h":608},{"t":"img","f":"img-39","w":1080,"h":608},{"t":"img","f":"img-40","w":1080,"h":608},{"t":"img","f":"img-41","w":1080,"h":608},{"t":"img","f":"img-42","w":1080,"h":608},{"t":"img","f":"img-43","w":1080,"h":608},{"t":"img","f":"img-44","w":1080,"h":608},{"t":"img","f":"img-45","w":756,"h":1890}],"titleEn":"Is Post-Processing Just Visual Magic? A Pro Photographer on What Post-Processing Really Does"}