{"slug":"shoot-the-sun-15frames","title":"直接拍太阳！1000倍大光比，职业摄影师如何用15张原片完成复杂风光拍摄！","author":"Thomas看看世界","date":"2021-06-27","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247493486&idx=1&sn=1ceface9577dc0c45dc65a4d0f9ef66d&chksm=eb82190adcf5901caad7ee9f63d84d2395e8dceb4dfbbdf96189596d6452c2fd37da51dfbdce&scene=21#wechat_redirect","blocks":[{"t":"h","x":"Thomas看看世界","xe":"Thomas Chu Photo"},{"t":"p","x":"今天的视频教程，Thomas会分享一个复杂的风光拍摄和后期案例。","b":false,"xe":"In today's video tutorial, Thomas shares a complex landscape capture and post-processing case."},{"t":"p","x":"因为直接拍摄耀眼的太阳，而且还有薄云的干扰，让现场环境暗部、亮部的光比在1000倍以上，需要复杂的包围曝光才能记录下全部细节。","b":false,"xe":"Because the dazzling sun was photographed directly, with thin clouds interfering, the scene's light ratio between dark and bright areas exceeded 1000:1 — complex exposure bracketing was needed to record all the detail."},{"t":"p","x":"雪上加霜的是，画面中还有流水，需要多张堆栈雾化水面，如此复杂的场景，究竟该如何拍摄与后期？","b":false,"xe":"To make matters worse, there was flowing water in the frame, requiring multi-frame stacking to smooth the surface. How exactly should such a complex scene be captured and processed?"},{"t":"img","f":"img-02","w":1080,"h":720},{"t":"h","x":"视频教程","xe":"Video Tutorial"},{"t":"bili","bv":"BV1GK4y1g7ZP","bpic":"bili-1","bt":"直接拍太阳！1000倍大光比！摄影师如何用15张原片完成复杂风光拍摄！"},{"t":"p","x":"这一篇是上面视频的完整图文整理。Thomas 选了一个非常复杂的实战案例：日出后一段时间逆光直拍太阳，光线已强、薄云遮日，亮部暗部光比超过 1000 倍，画面里还有需要雾化的流水。如何用一组包围曝光加水流堆栈把这个「噩梦场景」拿下，前期思路和后期合成在文中一步步拆解，并配有关键帧截图。","xe":"This is the fully illustrated companion to the video above. Thomas picked a brutally complex field case: shooting straight into the sun shortly after sunrise, backlit, with thin clouds over the sun, a dynamic range beyond 1000:1 between lit clouds and shadowed rocks — plus flowing water that needs smoothing. How a set of exposure brackets plus a water-frame stack conquers this nightmare scene is broken down step by step below, with keyframe screenshots.","b":false},{"t":"p","x":"先看成片：云层在太阳周围保持着完整细节，山体和前景岩石层次分明，水面拉出柔滑的丝流。这张照片由两组素材合成——5 张跨 8 档的包围曝光负责天空云层与地景，9 张连拍负责水流堆栈。","xe":"Start with the final image: clouds keep full detail right around the sun, the mountain and foreground rocks hold their layers, and the water flows as smooth silk. The photo merges two sets of material — a 5-frame, 8-stop exposure bracket for the sky and land, and a 9-frame burst stacked for the water.","b":false},{"t":"img","f":"v01","w":768,"h":480},{"t":"h","x":"01 场景难点：1000 倍光比怼在脸上","xe":"01 The Challenge: 1000:1 Dynamic Range, Head-On"},{"t":"p","x":"最让人头疼的场景是什么样的？日出一段时间之后逆光拍摄——此时太阳光线已经很强，而且太阳还被一些云遮住。这些云本身是有细节的，又被照得很亮；而没有被太阳照到的部分，石头的阴影又非常暗。这样一张照片，是超过一千倍的超大光比条件（视频 0:07-0:37 处）。","xe":"What does a nightmare scene look like? Shooting backlit some time after sunrise — the sun already fierce, partly veiled by clouds. Those clouds carry real detail and blaze with light, while the rocks the sun doesn't reach fall into deep shadow. The result: a dynamic range beyond 1000:1 (at 0:07-0:37 in the video).","b":false},{"t":"p","x":"拆解之前先给结论：这个场景没有单张的解法。Thomas 的方案是两组素材分工——5 张跨 8 档的包围曝光负责天空、云层和地景的动态范围，9 张同参数连拍负责把水流堆出拉丝效果，后期再合成到一起。下面从场景难点讲起。","xe":"Before the breakdown, the conclusion: there is no single-frame answer here. Thomas runs two material sets in parallel — a 5-frame, 8-stop exposure bracket covering the dynamic range of sky, clouds and land, plus a 9-frame identical-settings burst stacked into silky water, blended together in post. Let us start from what makes the scene so hard.","b":false},{"t":"h","x":"02 包围曝光：从 3 张到跨 8 档的 5 张","xe":"02 Bracketing: from 3 Frames to 5 across 8 Stops"},{"t":"p","x":"Thomas 一开始只拍了三张包围曝光，但看回放就发现不够用：最亮的那张，暗的地方还是很暗；最暗的那张，太阳周边仍然是过曝的（视频 0:44-0:59 处）。于是改成五张包围曝光，而且每一张相差两档（视频 0:59-1:06 处）。","xe":"Thomas first shot a 3-frame bracket, but the playback said it wasn't enough: on the brightest frame the shadows were still crushed; on the darkest, the area around the sun still blown (at 0:44-0:59 in the video). So he switched to a 5-frame bracket with two stops between each frame (at 0:59-1:06 in the video).","b":false},{"t":"img","f":"v02","w":768,"h":480},{"t":"p","x":"参数给到极限：最暗的一张是负 8 档的曝光补偿，ISO 50、f/22；五张分别是 -8、-6、-4、-2、0 档，总跨度八档——一套「超级包围曝光」（视频 1:06-1:23 处）。","xe":"The settings go to the edge: the darkest frame sits at minus 8 stops of exposure compensation, ISO 50, f/22; the five frames run -8, -6, -4, -2, 0 — an eight-stop span, a true super bracket (at 1:06-1:23 in the video).","b":false},{"t":"img","f":"v03","w":768,"h":480},{"t":"p","x":"看每一档的分工：最暗的一张，整个地面已经漆黑一片，但太阳基本记录了下来——太阳圆面本身要记录得很实不太现实，能保证周边云的细节全部记录就 OK 了（视频 1:24-1:39 处）；负 6 档时，太阳周边的云已经开始过曝（视频 1:40-1:45 处）；再往上是负 4 档、负 2 档（视频 1:46-1:48 处）。","xe":"Each stop has its job: on the darkest frame the ground is pitch black, but the sun itself is recorded — nailing the solar disc is unrealistic anyway, so preserving all the cloud detail around it is the win (at 1:24-1:39 in the video); at -6 the clouds near the sun start to clip (at 1:40-1:45 in the video); then come -4 and -2 (at 1:46-1:48 in the video).","b":false},{"t":"img","f":"v04","w":768,"h":480},{"t":"img","f":"v05","w":768,"h":480},{"t":"p","x":"到 0 档这一张，石头的暗部其实仍然非常暗。但注意关键差别：这个时候拉上去强提暗部阴影，噪点远没有从全黑一片的状态下强提曝光那么多——这正是要拍到 0 档的原因（视频 1:49-2:06 处）。至此包围曝光的素材就拍完了。","xe":"Even the 0-stop frame leaves the rocks very dark. But here's the key difference: lifting shadows from this frame brings far less noise than forcing exposure out of pitch black — exactly why the 0-stop frame matters (at 1:49-2:06 in the video). The bracket material is now complete.","b":false},{"t":"img","f":"v06","w":768,"h":480},{"t":"h","x":"03 水流：忘带减光镜的堆栈补救","xe":"03 The Water: a Stack Rescue without the ND Filter"},{"t":"p","x":"包围曝光素材在 Camera Raw 里打开，执行「合并到 HDR」。合并后水流部分肯定不太准确，但这没关系——这次合并 HDR 针对的是山峰正面、云层天空和地景，点合并即可（视频 2:07-2:30 处）。","xe":"Open the bracket set in Camera Raw and run Merge to HDR. The flowing water will merge inaccurately — that's fine, since this HDR targets the mountain frontage, the cloudy sky and the land; just hit Merge (at 2:07-2:30 in the video).","b":false},{"t":"img","f":"v07","w":768,"h":480},{"t":"p","x":"水流是另一个问题。如果当时带了 ND64 减光镜，单张就能拍出丝状水流；可惜减光镜放在营地了。把参数调到最低——ISO 50、f/22——已经到极限，每张仍然只有十分之一秒。没关系：十分之一秒拍十张，堆栈叠加就相当于一秒。于是 Thomas 连续拍了九张水流照片（视频 2:31-3:00 处）。","xe":"The water is another problem. With an ND64 filter on hand, a single frame could render silky flow — but the filter was left back at camp. Settings already bottomed out at ISO 50 and f/22, each frame is still just 1/10 s. No matter: ten frames of 1/10 s stacked together behave like one full second. So Thomas fired a 9-frame burst of the water (at 2:31-3:00 in the video).","b":false},{"t":"p","x":"九张照片全部在 PS 里打开，执行「文件 → 脚本 → 将文件载入堆栈」，添加打开的文件，「对齐源图像」和「自动创建智能对象」两个都勾上，点击确定（视频 3:01-3:26 处）。然后在智能对象上执行「图层 → 智能对象 → 堆栈模式 → 平均值堆栈」，就相当于渲染出了拉丝的水流效果（视频 3:29-3:42 处）。","xe":"Open all nine frames in PS and run File → Scripts → Load Files into Stack, add the open files, check both \"Attempt to Automatically Align Source Images\" and \"Create Smart Object after Loading Layers\", and click OK (at 3:01-3:26 in the video). Then apply Layer → Smart Objects → Stack Mode → Mean, and the stack renders a silky, drawn-water effect (at 3:29-3:42 in the video).","b":false},{"t":"img","f":"v08","w":768,"h":480},{"t":"img","f":"v09","w":768,"h":480},{"t":"p","x":"当然，这样堆出来的拉丝，肯定还是没有前期直接上 ND1000 或 ND64 拉出来的舒服自然——但现在的效果，感觉已经基本有了（视频 3:43-3:56 处）。这是「忘带滤镜」最实用的补救方案。","xe":"Granted, a stacked silk like this still isn't as comfortable and natural as a true ND1000 or ND64 long exposure in the field — but the feel is basically there (at 3:43-3:56 in the video). This is the most practical rescue for a forgotten filter.","b":false},{"t":"img","f":"v10","w":768,"h":480},{"t":"h","x":"04 合成：曝光匹配与蒙版刷水","xe":"04 Blending: Match the Light, Paint In the Water"},{"t":"p","x":"打开 HDR 文件，先把曝光调到和堆栈图比较相似：整体曝光提一点，高光值拉下来一点，阴影值不用提太多——先让两张照片看起来光线差不多，之后刷水流合成才会自然（视频 3:58-4:36 处）。","xe":"Open the HDR file and first bring its exposure close to the stack image: raise overall exposure slightly, pull the highlights down, and don't lift the shadows too much — get the two frames looking alike before brushing, so the blend reads naturally (at 3:58-4:36 in the video).","b":false},{"t":"p","x":"然后把 HDR 拖到前面堆栈完成的文档里；智能对象先栅格化，选中两个图层，执行「编辑 → 自动对齐图层」（视频 4:37-5:00 处）。接着建一个蒙版：黑色为前景色、不透明度 100%，用黑色画笔去刷水流部分，把下层堆栈的拉丝水流刷出来；上面精细的区域，换小一点的画笔慢慢修（视频 5:01-5:35 处）。","xe":"Drag the HDR into the stacked document; rasterize the smart object, select both layers, and run Edit → Auto-Align Layers (at 4:37-5:00 in the video). Then add a mask to the HDR layer: black as the foreground color at 100% opacity, and with the black brush paint over the water to reveal the silky flow of the stack below; refine tighter areas with a smaller brush (at 5:01-5:35 in the video).","b":false},{"t":"img","f":"v11","w":768,"h":480},{"t":"img","f":"v12","w":768,"h":480},{"t":"h","x":"05 复盘：拍摄只针对画面的一部分","xe":"05 The Takeaway: Every Frame Serves Only a Part"},{"t":"p","x":"之后的操作其实不复杂——就是一些简单的调色和变形工作（视频 5:36-5:47 处）。这张照片最复杂的，还是前期拍摄的思路，以及最开始把两组素材合成到一起的过程。","xe":"Everything after is simple — just basic color grading and transforms (at 5:36-5:47 in the video). The truly complex parts of this image are the shooting strategy up front and the initial merge of the two material sets.","b":false},{"t":"p","x":"复盘一下素材分工：5 张照片完成跨 8 档超高动态范围的包围曝光合成，针对的是地景以及云层天空；9 张照片完成水流堆栈，堆出拉丝的效果（视频 5:54-6:16 处）。现代风光摄影的一个核心思路正在于此：某一次拍摄可能只针对画面的某一部分——各自拍到位，再组合起来，就能拍出一张非常震撼的照片（视频 6:17-6:47 处）。","xe":"Recap the division of labor: 5 frames build the 8-stop, ultra-high-dynamic-range exposure blend for the land, sky and clouds; 9 frames stack the water into silk (at 5:54-6:16 in the video). That's a core idea of modern landscape photography: any given shot may serve only one part of the frame — nail each part separately, combine them, and a truly striking photo emerges (at 6:17-6:47 in the video).","b":false},{"t":"img","f":"v13","w":768,"h":480},{"t":"quote","x":"1. 超大光比场景先问自己「档位够不够」：3 张包围不够就上 5 张、每张差 2 档，从 -8 档到 0 档共跨 8 档（ISO 50、f/22），最暗张保云层细节、0 档张让强提阴影少噪点；2. 包围曝光在 ACR 合并 HDR，只针对天空云层与地景，水流不准没关系；3. 忘带减光镜就用「最低参数连拍 + 平均值堆栈」补救：ISO 50、f/22 下 9 张 1/10 秒叠加≈1 秒拉丝，不如真 ND 自然但够用；4. 合成前先统一两图的曝光观感，栅格化、自动对齐图层，再用黑画笔通过蒙版把堆栈水流刷回 HDR 底图——每张原片只服务画面的一部分。","xe":"1. For extreme dynamic range, first ask \"enough stops?\": if 3 brackets fall short, shoot 5 at 2-stop spacing from -8 to 0 (ISO 50, f/22) — the darkest frame saves the cloud detail, the 0-stop frame lifts shadows with less noise; 2. Merge the bracket to HDR in ACR for sky and land only — inaccurate water doesn't matter; 3. No ND filter? Rescue with minimum settings plus a mean stack: 9 frames of 1/10 s at ISO 50, f/22 stack into roughly a 1-second silk — not as natural as real ND, but it works; 4. Before blending, match the two frames' exposure feel, rasterize, auto-align layers, then paint the stacked water back over the HDR through a mask with a black brush — every raw frame serves only one part of the picture."},{"t":"img","f":"img-03","w":756,"h":1890},{"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":"Learn one photography skill every week"}],"titleEn":"Shooting Straight into the Sun! 1000x Dynamic Range with 15 Raw Frames"}