{"slug":"six-scenes-landscape-guide","title":"风光摄影常见6大场景拍摄总结，星空、海景、城市原来这么拍！","author":"Thomas看看世界","date":"2023-10-04","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247498439&idx=1&sn=1a8f3542d49f662d667a733fd39729f6&chksm=eb8204a3dcf58db59019e932fadfc25a46ea34f6ff6b4638ee6a522a5e27142c4e167d34327d&scene=21#wechat_redirect","blocks":[{"t":"p","x":"在今天的教程中，我会总结风光摄影最常见的6种拍摄场景和相应的技巧，包括了自然风光类：日出日落、星空银河、长焦小景、水流海景4种情况，以及城市风光类别里的：天际线、街头生活2种拍摄题材。","b":false,"xe":"In today's tutorial, I will summarize the six most common shooting scenarios in landscape photography and the corresponding techniques: four in natural landscapes — sunrise/sunset, starry skies and the Milky Way, telephoto intimate scenes, and water/seascapes — plus two in urban landscapes: skylines and street life."},{"t":"p","x":"索尼大三元镜头，能够覆盖这些多样的拍摄环境吗？我也会分享自己的实战体会。","b":false,"xe":"Can Sony's trio of f/2.8 zoom lenses cover such diverse shooting environments? I will also share my hands-on experience."},{"t":"img","f":"img-01","w":1080,"h":608},{"t":"h","x":"视频","xe":"Video"},{"t":"bili","bv":"BV1JH4y1f7mJ","bpic":"bili-1","bt":"风光摄影常见6大场景拍摄总结，星空、海景、城市原来这么拍！"},{"t":"p","x":"这一篇是上面视频的完整图文整理。Thomas 把风光摄影最常见的六种场景一次讲透：自然风光类的日出日落、银河星空、长焦小景、水流海景，以及城市拍摄中的天际线和街头生活。每种场景都给出器材选择、现场构图思路和具体参数，同时也分享了他用索尼大三元镜头覆盖这些场景的实战体会。文章配有关键帧截图，先看图建立框架，再到视频里听细节。","xe":"This is the fully illustrated companion to the video above. Thomas covers the six most common landscape scenes in one pass: sunrise-sunset, the Milky Way, telephoto details, and water/seascapes on the nature side, plus city skylines and street life in the urban category — gear choices, composition ideas and exact settings for each, along with his hands-on notes on covering them all with Sony's f/2.8 GM trio. Keyframe screenshots are paired throughout; skim here for the framework, then hear the details in the video.","b":false},{"t":"p","x":"先看总览。视频开头把六种场景做成了六张章节卡，下表即为整期教程的路线图——前四种属于自然风光，后两种属于城市题材，下文逐一展开。","xe":"Start with the overview. The video opens with a chapter card for each of the six scenes — the route map of the whole tutorial. The first four belong to nature, the last two to the city; each is unpacked below."},{"t":"img","f":"v01","w":1278,"h":480},{"t":"h","x":"01 日出日落：黄金光线与阴影前景","xe":"01 Sunrise & Sunset: Golden Light with a Shadowed Foreground"},{"t":"p","x":"对新人的第一推荐毫无疑问是日出日落——它被称作黄金光线，而 Thomas 最常用的镜头就是 16-35 GM 这支广角，非常适合撑起日出日落的壮观场面（视频 1:08 处）。但他照片里的太阳，要么还在山下，要么刚刚露出头，很少有大太阳高挂的画面。原因在于：一般来说前景处于阴影之中，会显得比较干净；前景一旦被太阳照亮，就容易杂乱。背景沐浴在阳光里，正好与阴影中的前景形成冷暖、明暗、色彩的对比（视频 1:40-1:56 处），照片才好看。","xe":"The first recommendation for beginners is unquestionably sunrise and sunset — the golden light — and Thomas's workhorse here is the 16-35 GM wide angle, ideal for grand dawn scenes (at 1:08). Yet in his photos the sun is either still below the ridge or just breaking over it, rarely hanging high. The reason: the foreground usually sits in shadow, which keeps it clean; once sunlight floods the foreground it turns messy. The sunlit background against the shadowed foreground builds contrast in warmth, brightness and color (1:40-1:56 in the video) — that is what makes the shot."},{"t":"img","f":"v02","w":852,"h":480},{"t":"p","x":"这样的场景十有八九是大光比环境，所以要把相机设成包围曝光模式：比如 -4、-2、0、+2、+4 拍 5 张，也可以按情况选择 3 张或 7 张（视频 2:10 处）。16-35 GM 在大光比下很少出鬼影和眩光，呼吸效应控制也好，合成回来画质让人放心（视频 2:28 处）。","xe":"Such scenes are almost always high-contrast, so set the camera to exposure bracketing: for example -4, -2, 0, +2, +4 for 5 frames, or 3 or 7 frames as the situation demands (at 2:10). The 16-35 GM rarely produces ghosts or flare in harsh contrast and controls focus breathing well, so image quality survives the blend (at 2:28)."},{"t":"img","f":"v03","w":852,"h":480},{"t":"h","x":"02 银河星空：规划比参数更重要","xe":"02 Milky Way: Planning Matters More than Settings"},{"t":"p","x":"星空的主力器材同样是 16-35 GM II 这支 f/2.8——大光圈保证足够的进光量，晚上也能拍出高画质；广角则是因为拍星空从来不只拍星星，还要有合适的地景与星空相互呼应（视频 2:57 处）。参数很固定：16、20 或 24mm，f/2.8，ISO 3200 或 6400，曝光 20-25 秒（视频 3:08 处）。","xe":"The astro workhorse is likewise the 16-35 GM II at f/2.8 — the wide aperture gathers enough light for clean night frames, and the wide angle matters because star shots are never just about stars: you need a fitting foreground echoing the sky (at 2:57). The settings are almost a formula: 16, 20 or 24mm, f/2.8, ISO 3200 or 6400, 20-25 s (at 3:08)."},{"t":"img","f":"v04","w":852,"h":480},{"t":"p","x":"比参数更重要的是提前规划。想拍到银心绚烂、竖起来的银河，一般选夏天；冬天只能拍到银河的尾巴。春秋季节银河常常处在水平、低垂的状态，正好适合用全景接片的方式拍出银河拱桥，非常壮观（视频 3:47 处）。另外拍前一定查月相：月亮超过半月甚至满月，银河星光会非常稀少；而月亮只剩一小牙时不但适合拍银河，还能给地景补光，甚至拍到星月同辉（视频 4:00-4:10 处）。","xe":"Planning beats settings. For a dazzling vertical core you need summer; winter only offers the Milky Way's faint tail. In spring and autumn the galaxy often hangs low and horizontal — perfect for a panoramic stitch of the Milky Way arch, truly spectacular (at 3:47). And always check the moon phase first: past half moon or full, the stars thin out badly; with just a sliver of moon you can still shoot the galaxy while it gently lights the foreground — sometimes even capturing the moon and Milky Way together (4:00-4:10)."},{"t":"img","f":"v05","w":852,"h":480},{"t":"h","x":"03 长焦小景：压缩与层次","xe":"03 Telephoto Details: Compression and Layers"},{"t":"p","x":"随着拍得越来越多，Thomas 越来越喜欢用 70-200 GM II 和 100-400 GM 抓拍长焦小景——前者更轻便，后者焦段覆盖更长，成像都非常锐利（视频 4:23 处）。长焦构图记住两个关键词：压缩与层次（视频 4:46 处）。压缩，比如在月亮下面拍白鹭，白鹭竟然和月亮一样大——长焦混淆了物体之间的大小关系；层次，比如那张火车照片，取了前面的树林、中间的火车、远处层层叠叠的山峰（视频 5:07 处），用前后景的堆叠强化空间。","xe":"As he shoots more and more, Thomas reaches ever more for the 70-200 GM II and 100-400 GM for telephoto details — the former lighter, the latter reaching longer, both razor sharp (at 4:23). Two keywords govern telephoto composition: compression and layers (at 4:46). Compression: shooting an egret under the moon, the bird appears as large as the moon itself — the telephoto scrambles real-world size relationships. Layers: in the train photo, near trees, the mid-ground train and distant stacked peaks build depth by accumulation (at 5:07)."},{"t":"img","f":"v06","w":852,"h":480},{"t":"img","f":"v07","w":852,"h":480},{"t":"h","x":"04 水流海景：三种曝光时间","xe":"04 Water & Seascapes: Three Shutter-Speed Regimes"},{"t":"p","x":"水流是最「玩得出花样」的场景，因为不同曝光时间的效果完全不同（视频 5:32 处）。器材上大部分情况还是 16-35 GM，利用透视效应强化海浪或溪流的线条感；离得很远的瀑布则交给 100-400（视频 5:44 处）。曝光时间有三档：1/1000 秒甚至更快，定格水流与浪花的一瞬间；0.2 秒到 1 秒之间，水流被拉成丝绢状，非常有动感；5 秒甚至更长的长曝，则把海面湖面完全雾化，得到极平静的效果（视频 5:58-6:21 处）。","xe":"Water is the most playful subject, because the look changes completely with exposure time (at 5:32). Gear-wise the 16-35 GM still does most of the work, its perspective exaggerating the lines of waves and streams; distant waterfalls go to the 100-400 (at 5:44). Shutter time comes in three regimes: 1/1000 s or faster freezes water and spray mid-air; between 0.2 s and 1 s the flow stretches into silky ribbons full of motion; and 5 s or longer fogs the sea or lake into perfect calm (5:58-6:21)."},{"t":"img","f":"v08","w":852,"h":480},{"t":"p","x":"同样是冰岛的黑沙滩，两种曝光时间的差别一目了然（视频 6:24 处）：下面这张长曝把海面完全雾化，礁石像立在云雾里；而这张曝光时间稍短一些，海浪拉出了非常漂亮的丝绢纹理——先想好要「凝固」还是「流动」，再决定快门，是水流拍摄的思考起点。","xe":"On the same Icelandic black beach, the difference between two exposure times is unmistakable (at 6:24): the long exposure fogs the sea completely, leaving the reefs standing in cloud, while the shorter one lets the waves draw gorgeous silky threads. Deciding first whether you want the water frozen or flowing — then choosing the shutter — is the starting point of all water photography."},{"t":"img","f":"v09","w":852,"h":480},{"t":"img","f":"v10","w":852,"h":480},{"t":"h","x":"05 城市拍摄：天际线与街头生活","xe":"05 Urban Work: Skylines and Street Life"},{"t":"p","x":"城市题材 Thomas 最常拍两种。其一是城市天际线：在高楼附近的江面、水面或街头拍摄时，用的还是 16-35 GM——比如那张上海照片用了 20mm 端，取入足够的桥面做前景，前后透视更震撼、强化距离感（视频 7:04 处）。广角拍建筑要尽量保持镜头水平，形成横平竖直的观感；如果想仰拍倾斜，就要为后期校正留空间——想拍 20mm 的框架，就用 16mm 去构图，后期才有裁切和校正的余地（视频 7:41 处）。构图也可以玩创意，比如用手机背面的镜面反射城市，营造更复杂的空间层次（视频 7:54 处）。","xe":"In the city Thomas shoots two subjects most. One is the skyline: working near the towers from a river, waterfront or street, he again uses the 16-35 GM — his Shanghai frame took the 20mm end, pulling in enough of the bridge deck as a foreground so the perspective adds depth and distance (at 7:04). Keep the camera level for that upright-and-horizontal look; if you tilt upward, leave room for perspective correction — frame at 16mm for a 20mm picture so you can crop and fix later (at 7:41). And play: reflecting the skyline in a phone's glass back adds an extra layer of space (at 7:54)."},{"t":"img","f":"v11","w":852,"h":480},{"t":"img","f":"v12","w":852,"h":480},{"t":"p","x":"其二是街头生活，大三元三支 f/2.8 GM 都会用到，最看重的就是光圈——因为这类场景常在弱光、阴雨天甚至夜晚蓝调时拍摄，漂亮的灯光配上行人不显突兀（视频 8:25 处）。常用参数是 ISO 800-3200、f/2.8、70-200mm，快门 1/60、1/40 或更快的 1/100 秒，保证画面里的人不糊（视频 8:38 处）。嫌高 ISO 背景噪点多，就上时间合成：背景用 ISO 200、f/8、10 秒长曝获得干净画质，人物再用 ISO 1000-1600、f/2.8、1/60 秒定格，后期合并（视频 8:58-9:11 处）。","xe":"The other is street life, where all three f/2.8 GM lenses rotate in — what matters most is the aperture, since these scenes happen in low light, rain, or blue hour, when beautiful lamps meet passers-by (at 8:25). Typical settings: ISO 800-3200, f/2.8, 70-200mm at 1/60, 1/40 or a faster 1/100 s so people stay sharp (at 8:38). If high-ISO noise bothers you, run a time blend: a clean ISO 200, f/8, 10 s background plus a frozen ISO 1000-1600, f/2.8, 1/60 s figure, merged in post (8:58-9:11)."},{"t":"img","f":"v13","w":852,"h":480},{"t":"img","f":"v14","w":852,"h":480},{"t":"quote","x":"1. 日出日落选太阳在山下或刚露头时拍，让前景留在阴影里，与亮背景形成冷暖明暗对比，大光比用包围曝光解决；2. 星空用 16-35 f/2.8、ISO 3200-6400、20-25 秒，夏天拍银心、春秋接片拍拱桥，月相提前查、一弯小月牙还能补光地景；3. 长焦小景记住压缩与层次，70-200 求轻便、100-400 求焦段；4. 水流三种曝光时间三种味道：1/1000 秒定格、0.2-1 秒丝绢、5 秒以上雾化；5. 城市广角保持水平、给后期校正留余量，街头蓝调大光圈高 ISO，噪点多就用时间合成兜底。","xe":"1. Shoot sunrise-sunset with the sun below the ridge or just breaking, keep the foreground in shadow for warm-cool contrast, and let bracketing handle the contrast; 2. For stars: 16-35 f/2.8, ISO 3200-6400, 20-25 s — summer for the core, spring/autumn stitches for the arch, check the moon phase, and a crescent doubles as foreground fill; 3. Telephoto details live on compression and layers — 70-200 for light weight, 100-400 for reach; 4. Water has three shutter regimes: 1/1000 s frozen, 0.2-1 s silk, 5 s-plus fog; 5. Keep urban wide shots level with correction headroom, shoot street life wide open at high ISO in blue hour, and fall back on time blends when noise piles up."}],"titleEn":"Six Classic Landscape Scenarios: How to Shoot Starry Skies, Seascapes and Cities"}