{"slug":"snow-mountain-atmosphere","title":"拍摄2天修图5小时？雪山风光大片如何修出氛围感？","author":"Thomas看看世界","date":"2022-09-04","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247495966&idx=1&sn=567d3af05156642b96e05a0e465a5f25&chksm=eb820f7adcf5866c2a5ef3b5ba848edbab8b2ce46d0580724bb967293df8f8d15cea66da25eb&scene=21#wechat_redirect","blocks":[{"t":"p","x":"摄影后期的一个重要作用，就是渲染照片的氛围感。","b":false,"xe":"An important role of photo post-processing is rendering the atmosphere of a photo."},{"t":"p","x":"今天的照片后期案例，前期拍摄于南美巴塔哥尼亚山区，经过2天的踩点其实构图已经很壮观。","b":false,"xe":"Today's post-processing case was shot in the Patagonian mountains of South America. After two days of scouting, the composition was already spectacular."},{"t":"p","x":"但是后期对照片构图、影调和色彩调整之后，照片带给人的感受又大大的提升了！","b":false,"xe":"But after adjusting the composition, tonality and color in post, the feeling the photo conveys was greatly elevated!"},{"t":"img","f":"img-01","w":1067,"h":1600},{"t":"h","x":"视频","xe":"Video"},{"t":"bili","bv":"BV15D4y1z7Eh","bpic":"bili-1","bt":"拍摄2天修图5小时？雪山风光大片如何修出氛围感？"},{"t":"p","x":"这一篇是上面视频的图文整理版。Thomas 用一张代表作《高山大河》（摄于南美巴塔哥尼亚山区）完整复盘了前后期流程：两天的徒步踩点与拍摄、Camera Raw 里定基调、PS 里三四十个图层接近五个小时的精雕细琢。视频里逐层演示的「氛围感」营造思路，本文配关键帧截图逐一拆解。","xe":"This is the illustrated companion to the video above. Thomas uses one of his signature images, \"High Mountains, Great Rivers\" (shot in Patagonia, South America), to walk through the entire capture-to-edit pipeline: two days of scouting and shooting, setting the base in Camera Raw, then 30-40 layers and nearly five hours of fine-tuning in Photoshop. The atmosphere-building ideas demonstrated layer by layer in the video are unpacked here with keyframe screenshots."},{"t":"img","f":"v01","w":852,"h":480},{"t":"p","x":"先看结果：上面是视频开头 0:05 处的前后对比，左边是相机直出的原始场景，右边是最终成片——同一片雪山与河流，氛围感完全不同。这张照片拍了两天、修了近五个小时，下文按「踩点立意 → 原图分析 → Camera Raw 定调 → Photoshop 精修 → 前后对比」的顺序展开。","xe":"Start with the result: the before/after at 0:05 in the video — the camera's original capture on the left, the final image on the right. Same mountains, same river, utterly different atmosphere. The photo took two days to shoot and nearly five hours to edit; this article follows the order \"scouting and intent → analyzing the RAW → setting the tone in Camera Raw → refining in Photoshop → the comparisons\"."},{"t":"h","x":"01 前期：两天踩点与高山大河的立意","xe":"01 Pre-Production: Two Days of Scouting, One Grand Vision"},{"t":"p","x":"这张照片拍摄于南美巴塔哥尼亚山区，画面里两座核心雪山是菲茨罗伊峰（Fitz Roy）与托雷峰（Cerro Torre）。从近处的湖泊、小溪拍它们已经很壮观，但 Thomas 想要更宏大的场景：用一条真正的大河做中景。视频 0:46 处的卫星图揭示了关键——这段河流在拐弯之前，流向正好对准那两座山峰，而且连续拐了五六个弯（视频 1:02 处）。","xe":"The photo was shot in Patagonia, South America; the two central peaks are Fitz Roy and Cerro Torre. Framing them from nearby lakes and streams is spectacular enough, but Thomas wanted something grander: a real river as the midground. The satellite view at 0:46 in the video reveals the key — before it bends, the river flows straight toward those two peaks, and it switches direction five or six times in a row (at 1:02 in the video)."},{"t":"img","f":"v02","w":852,"h":480},{"t":"p","x":"执行方式很朴素：开车到附近，第一天徒步踩点探索，第二天才正式拍摄（视频 1:08 处）。当天在那片山区拍了很多张，但 Thomas 觉得还是河流这一张最壮观——小溪拍不出那种「非常崇高的感觉」，而大河可以（视频 1:26-1:32 处）。","xe":"The execution was simple: drive to the area, hike and scout on day one, and only shoot on day two (at 1:08 in the video). Many frames came back from those mountains, but the river frame stood out — streams cannot deliver that \"sense of the sublime\", while a great river can (at 1:26-1:32 in the video)."},{"t":"img","f":"v03","w":852,"h":480},{"t":"h","x":"02 原图分析：离崇高感差在哪","xe":"02 Reading the RAW: What Kept It from Feeling Sublime"},{"t":"p","x":"最终拿到的原图见下面 1:37 处的截图。相机自动白平衡并不准，稍稍偏蓝；景色本身足够壮观，但离想表现的崇高感、自然的力量感还差三层（视频 1:55-2:02 处）：一是天空太亮，视线被留在天上，雪山和河流反而不够显眼；二是杂物太多，前景基本没有着落，只有光秃秃的乱石头；三是细节的打磨还有很大提升空间。","xe":"The final RAW is shown in the screenshot at 1:37. The camera's auto white balance was slightly off toward blue, and while the scenery itself is spectacular, three gaps kept it from the intended sense of the sublime and the power of nature (at 1:55-2:02 in the video): the sky was too bright, pinning the viewer's eye up there while the mountains and river sank into obscurity; the foreground was cluttered — really just bare random rocks with nothing to hold onto; and the fine detailing still had a long way to go."},{"t":"img","f":"v04","w":852,"h":480},{"t":"h","x":"03 Camera Raw：定下暗调与互补基调","xe":"03 Camera Raw: the Dark Base and Complementary Palette"},{"t":"p","x":"光是在 Camera Raw 里调整完，氛围感就已经完全不同了（视频 2:30-2:38 处）。基本面板第一步是曝光直接减 1.5，再把阴影和黑色拉回来，做成一个「暗调」——这是氛围感的根基（视频 2:43-2:54 处）。白平衡在基本面板里同步纠正：原来是 3800、色调 +7 的偏蓝设置，现在加了大量暖色和一些紫色，让它偏向正常而略带紫的白平衡（视频 2:55-3:09 处）。","xe":"Once the Camera Raw adjustments were in, the atmosphere changed completely (at 2:30-2:38 in the video). In the Basic panel, step one was dropping exposure by a full -1.5 and lifting shadows and blacks back up to build a \"dark tone\" — the foundation of the mood (at 2:43-2:54 in the video). White balance was corrected in the same panel: from the bluish 3800K with +7 tint to a heavy dose of warmth plus some magenta, landing on a normal but slightly purple balance (at 2:55-3:09 in the video)."},{"t":"p","x":"色彩体系上，这张照片整体是红紫色与青绿色的互补色调（视频 3:19 处）。混色器把蓝色统一往紫色靠，让整体色彩更统一（视频 3:11-3:18 处）；颜色分级再在高光里进一步加暖，让冷暖对比更加突出（视频 3:25-3:31 处），上面 3:45 的截图正是这一步的操作面板。","xe":"For the color system, the image is built on a red-purple versus teal-green complementary palette (at 3:19 in the video). The Color Mixer nudges blues toward purple to unify the palette (at 3:11-3:18 in the video), and Color Grading pushes extra warmth into the highlights to sharpen the warm-cool contrast (at 3:25-3:31 in the video) — the panel at 3:45 above captures exactly that step."},{"t":"img","f":"v05","w":852,"h":480},{"t":"p","x":"局部滤镜建了很多，但核心只有一件事：重塑明暗逻辑（视频 3:33-3:39 处）。原图经过前面的压暗之后，反而是左边最亮——可光明明应该从右边来，这与我们的直觉不符。于是用大量局部滤镜把左边一律压暗（视频 3:42-3:58 处），让光线的方向重新变得合理。","xe":"Many local filters were created, but they serve one core purpose: rebuilding the logic of light and dark (at 3:33-3:39 in the video). After the earlier darkening, the brightest area of the frame was actually on the left — yet the light clearly comes from the right, which contradicts how we read the scene. So a stack of local filters darkens the left side across the board (at 3:42-3:58 in the video), making the direction of light believable again."},{"t":"img","f":"v06","w":852,"h":480},{"t":"h","x":"04 Photoshop：氛围感的精雕细琢","xe":"04 Photoshop: Carving Out the Atmosphere"},{"t":"p","x":"进 PS 第一步是把文件转成智能对象（视频 4:01-4:06 处），接着用 Color Efex Pro 应用了偏光镜和天光镜，让画面更偏紫、明暗与冷暖对比更突出（视频 4:07-4:16 处）。Camera Raw 里已经压了很多的天空，在 PS 里还要进一步压暗；河流则反过来做了一定程度提亮并配合蒙板，让它更加突出（视频 4:18-4:35 处）。饱和度也要做取舍：一张照片如果所有地方都饱和，就等于所有地方都没有差异——这张照片要让红紫色最饱和，蓝色其次，青色的河流再次，绿色的草地既不饱和还要压得很暗（视频 4:36-4:57 处）。","xe":"Entering Photoshop, the file is first converted to a Smart Object (at 4:01-4:06 in the video), then Color Efex Pro applies Polarizer and Skylight filters to deepen the purple cast and sharpen the tonal and warm-cool contrast (at 4:07-4:16 in the video). The sky, already darkened heavily in Camera Raw, is darkened further in PS; the river gets the opposite — a moderate brightening paired with masks to make it stand out (at 4:18-4:35 in the video). Saturation demands trade-offs too: if everything is saturated, nothing stands out — so red-purple goes most saturated, blue second, the teal river third, while the green grass stays desaturated and very dark (at 4:36-4:57 in the video)."},{"t":"img","f":"v07","w":852,"h":480},{"t":"p","x":"然后是第一次构图变形。照片已经过裁剪，只按三分法保留约三分之一的天空；但这样河流会直接从边上流出去，开阔感和对角线的冲击力都不够（视频 4:58-5:24 处）。于是把河流区域单独选出来做拉伸变形，让它更偏向画面对角线，动感立刻更好（视频 5:25-5:35 处，上面 5:25 截图即裁剪比例）。","xe":"Then came the first composition reshape. The frame had already been cropped to keep roughly a third of sky by the rule of thirds, but the river simply flowed out of the side — lacking both openness and the punch of a diagonal (at 4:58-5:24 in the video). So the river area was selected on its own and stretched toward the frame's diagonal, instantly improving its sense of motion (at 5:25-5:35 in the video; the crop ratio is visible in the 5:25 screenshot above)."},{"t":"img","f":"v08","w":852,"h":480},{"t":"p","x":"接下来是提亮高光：配合亮度蒙板和曲线，把高光部分提起来（视频 5:37-5:43 处）。效果立竿见影——现在一眼看到的是雪山，而不是像之前的小图那样先看到天空，明暗对比一下子就突出了（视频 5:44-5:56 处）。然后慢慢刷立体感：河流周边的土地都有了高光亮面（视频 5:57-6:12 处）；用吸管吸取紫色把天空进一步刷紫；光线方向上再用 Camera Raw 滤镜拉几个径向滤镜提亮——最终阳光像从右边斜射过来，照亮两座壮观的雪山，阳光的感受才真正进入画面（视频 6:13-6:38 处）。中途还用 Color Efex Pro 的柔焦类滤镜让画面更柔和（视频 6:39-6:44 处）。","xe":"Next, highlights: paired with luminosity masks and Curves, the bright areas are lifted (at 5:37-5:43 in the video). The effect is immediate — your eye lands on the snowy peaks first, not the sky as it did in the earlier small preview, and the tonal contrast snaps into place (at 5:44-5:56 in the video). Then the modeling is brushed in gradually: the land around the river gains highlighted faces (at 5:57-6:12 in the video); sampled purple deepens the sky; and several Radial Filters in a Camera Raw filter brighten the light side — until the sunlight feels like it slants in from the right and lights up the two spectacular peaks, the feeling of sunshine finally entering the frame (at 6:13-6:38 in the video). A soft-focus style filter in Color Efex Pro smooths the overall look along the way (at 6:39-6:44 in the video)."},{"t":"p","x":"小操作还有很多：把天空压暗得更加均匀，均匀到不注意都看不到云层细节——要的就是这种干净（视频 6:45-7:09 处，上面 7:05 截图可见前后）；黑场稍作提亮避免死黑；盖印图层后继续对高光和山峰光线做渲染（视频 7:10-7:29 处）。视觉引导也有明确顺序：第一眼看到山峰，第二眼看到河流，第三眼才是天空和草地——所以河流要进一步提亮，亮度仅次于山峰和阳光（视频 7:30-7:48 处）；云层细节再用加深减淡修出立体感（视频 7:49-7:57 处）。","xe":"Plenty of smaller moves followed: the sky was evened out with more darkening — so uniform that the cloud detail almost disappears if you are not looking for it, which is exactly the clean look he wanted (at 6:45-7:09 in the video; the before/after is visible in the 7:05 screenshot above); the black point was lifted slightly to avoid crushed blacks; and after stamping a merged layer, the highlights and the light on the peaks were rendered further (at 7:10-7:29 in the video). The visual sequence is deliberate: first glance to the peaks, second to the river, third to the sky and grass — so the river was brightened again, second only to the peaks and sunlight (at 7:30-7:48 in the video), and the clouds were given depth with dodge and burn (at 7:49-7:57 in the video)."},{"t":"img","f":"v09","w":852,"h":480},{"t":"p","x":"河流随后又做了两次变形。第二次让它更规整：河流中间有个很大的缺口，会破坏流线的感觉（视频 7:58-8:13 处）。这里有个态度值得注意：如果你想忠实展示原始地理地貌，就不怕它变形；但这张照片想表达的是高山大河的崇高感，所以让河流形状服从感受（视频 8:14-8:33 处）。中间几块破坏流线型的石头直接被去除；剩下的石头做微调——降低对比度、提升亮度，让它们保有一点质感又不抢戏（视频 8:35-8:55 处）。第三次变形只选下部往下拉，让河流从角落穿过、沿对角线流出照片——此时的动感和冲击力是最好的（视频 8:56-9:17 处，上面两张截图分别为 8:20 与 9:10 的变形状态）。","xe":"The river then went through two more reshapes. The second made it tidier: a large gap in the river broke its flowing line (at 7:58-8:13 in the video). There is an attitude worth noting here: if you want to document the terrain faithfully, you avoid warping it; but this image is about the sublimity of high mountains and great rivers, so the river's shape serves the feeling (at 8:14-8:33 in the video). Several mid-stream rocks that broke the flow line were removed outright; the rest were fine-tuned — contrast lowered, brightness raised — keeping a hint of texture without stealing attention (at 8:35-8:55 in the video). The third reshape pulled only the lower part downward, sending the river through the corner and out along the diagonal — the best motion and impact it could have (at 8:56-9:17 in the video; the two screenshots above show the reshape states at 8:20 and 9:10)."},{"t":"img","f":"v10","w":852,"h":480},{"t":"img","f":"v11","w":852,"h":480},{"t":"h","x":"05 对比：前期定下限，后期定上限","xe":"05 The Comparison: Capture Sets the Floor, Editing the Ceiling"},{"t":"p","x":"最终成片由差不多三四十个图层、五个小时的精雕细琢完成（视频 9:25-9:29 处）。下面三张截图依次是视频 9:34 的原图、9:37 的 Camera Raw 完成后效果、10:00 的最终成片——Camera Raw 一步就已经脱胎换骨，而 PS 的打磨让崇高的氛围真正立起来。","xe":"The final image came together from roughly 30-40 layers and five hours of fine work (at 9:25-9:29 in the video). The three screenshots below show, in order, the RAW at 9:34, the Camera Raw result at 9:37, and the final image at 10:00 — Camera Raw alone is a transformation, and the Photoshop polish is what makes the sublime atmosphere truly stand."},{"t":"img","f":"v12","w":852,"h":480},{"t":"img","f":"v13","w":852,"h":480},{"t":"img","f":"v14","w":852,"h":480},{"t":"p","x":"Thomas 在结尾强调：虽然前期拍摄花了两天去踩点、拍出比较好的底子，但仍然需要后期打磨，才能呈现真正「高山大河」的崇高感——壮观的山峰、初升阳光的氛围、一条畅快而有动感的河流（视频 9:39-10:08 处）。视频里提到的每一项技术，如何选光线、Camera Raw 滤镜、Color Efex 滤镜等，都在他以前 400 多篇教程中详细讲过，可以到主页按关键词搜索（视频 10:14-10:33 处）。","xe":"Thomas closes by stressing that even with two days of scouting and a strong base capture, the edit is still what reveals the true sublimity of \"high mountains, great rivers\" — spectacular peaks, the atmosphere of rising sunlight, and a sweeping, dynamic river (at 9:39-10:08 in the video). Every technique mentioned — choosing light, Camera Raw filters, Color Efex filters and more — is covered in depth across his 400+ earlier tutorials, searchable by keyword on his homepage (at 10:14-10:33 in the video)."},{"t":"quote","x":"1. 前期用两天踩点换立意：找到流向正对菲茨罗伊峰与托雷峰的大河做中景，第一天徒步探索、第二天正式拍摄；2. 原图三宗罪——天空太亮、前景杂物多、细节欠打磨；Camera Raw 里曝光 -1.5 做暗调，白平衡加暖加紫，混色器统一蓝色向紫，建立红紫×青绿互补色调；3. 局部滤镜的核心是让明暗符合「光从右来」的逻辑；PS 里用 Color Efex、亮度蒙板提亮高光、刷立体感、三次变形让河流沿对角线流出画面；4. 饱和度要有层次：红紫最饱和、蓝其次、青再次，草地压暗去饱和；视觉引导按山峰、河流、天空草地的顺序排布。","xe":"1. Two days of scouting buy the concept: find the great river flowing straight toward Fitz Roy and Cerro Torre as the midground — hike and explore on day one, shoot on day two. 2. The RAW's three sins — a sky too bright, a cluttered foreground, unfinished detail; in Camera Raw, -1.5 exposure builds the dark base, white balance gains warmth and magenta, the Color Mixer unifies blues toward purple, and a red-purple × teal-green complementary palette takes shape. 3. The local filters exist to make light and dark obey \"sunlight from the right\"; in Photoshop, Color Efex, luminosity-masked highlight lifts, painted modeling, and three reshapes send the river flowing out along the diagonal. 4. Saturation needs hierarchy — red-purple first, blue second, teal third, with the grass darkened and desaturated; the visual order runs peaks, river, then sky and grass."}],"titleEn":"Two Days Shooting, Five Hours Editing: How to Bring Out the Mood in a Snow Mountain Shot"}