{"slug":"star-trail-car-trails-3hours","title":"一张照片拍了三小时？星空车轨照片原来还能这么拍！","author":"Thomas看看世界","date":"2020-07-26","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247490983&idx=1&sn=68036443f215ed9194a73fbf55bae2da&chksm=eb81e3c3dcf66ad595f47276399e8cc456753a754bd6b9d55d23b9ca17035c2f8d85123d4c63&scene=21#wechat_redirect","blocks":[{"t":"h","x":"Thomas看看世界","xe":"Thomas Chu Photo"},{"t":"p","x":"在《既有晚霞又有灯光的爬楼大片，原来这么拍！》教程中，Thomas和大家分享了时间合成技术在城市夜景拍摄中的应用。","b":false,"xe":"In the tutorial 'Sunset Glow Plus City Lights — How Those Rooftop Shots Are Made', Thomas shared the application of time blending in city night photography."},{"t":"p","x":"其实时间合成是现代风光摄影中非常实用的一个技术，海景、星空、弱光等条件下都可以大展身手。","b":false,"xe":"In fact, time blending is a very practical technique in modern landscape photography — it shines in seascapes, starry skies, low light and more."},{"t":"img","f":"img-02","w":1080,"h":608},{"t":"p","x":"在今天的视频教程中，Thomas就会以一张藏东拍摄的车轨星空大片为例，和大家演示一张复杂的光轨时间合成案例。","b":false,"xe":"In today's video tutorial, Thomas uses a car-trail star-trail image shot in eastern Tibet to demonstrate a complex light-trail time-blending case."},{"t":"img","f":"img-03","w":1080,"h":720},{"t":"h","x":"视频教程","xe":"Video Tutorial"},{"t":"bili","bv":"BV1kp4y1i7gL","bpic":"bili-1","bt":"星空车轨大片原来这么拍！摄影师演示夜景时间合成拍摄技术"},{"t":"p","x":"这一篇是上面视频的完整图文整理。Thomas 完整复盘了自己今年 1 月在西藏藏东拍摄的一张星空车轨照片——从川藏线 72 道拐的选点规划、三组不同参数的连续曝光，到时间合成的完整后期，再到与汽车修图师合作的广告终稿。一期 11 分钟的教程全部落成图文，配视频关键帧截图。","xe":"This is the fully illustrated companion to the video above: Thomas walks through the complete story of a star-trails-and-car-trails photograph shot in January in eastern Tibet — scouting the 72 Turns of the Sichuan-Tibet line, three sets of exposures at different settings, the full time-blend post-production, and the final advertising version finished with a automotive retoucher. The whole 11-minute tutorial is laid out here with keyframe screenshots."},{"t":"img","f":"v01","w":800,"h":480},{"t":"p","x":"先看成片。上面这张就是当晚三小时、300 多张照片的最终产出：银河从雪山上方垂直而过，车轨在 72 道拐的弯道间绵延连贯——但其实没有任何一条光轨是同时出现的，下文慢慢拆解。","xe":"Start with the final image: the product of a three-hour night and 300-plus frames — the Milky Way running vertically above the snow mountains, car trails flowing continuously through the hairpins of the 72 Turns. Yet not a single pair of light trails actually appeared at the same moment; the breakdown follows."},{"t":"h","x":"01 前期：选弯、巧摄规划、300 多张连拍","xe":"01 In the Field: Scouting the Turn, Planning the Milky Way, 300 Frames"},{"t":"p","x":"拍摄地是川藏线上著名的 72 道拐。除了观景台的经典角度，Thomas 想找一个更特别的位置——大拐弯的拍摄逻辑和河流大拐弯一样：离拐弯足够近，用广角镜头就能拍到非常强的透视效应（视频 0:37 处）。他最终选中一个正对弯道、背后又有雪山的位置。","xe":"The location is the famous 72 Turns on the Sichuan-Tibet highway. Beyond the classic viewpoint angle, Thomas wanted somewhere more distinctive — the logic for a big road switchback is the same as for a river bend: get close enough and a wide-angle lens delivers dramatic perspective (at 0:37 in the video). He settled on a spot facing a hairpin with snow mountains behind."},{"t":"img","f":"v02","w":800,"h":480},{"t":"p","x":"机位定了，再用巧摄 APP 做规划：1 月的冬季银河虽然不是银心，但银河的尾巴正好会以垂直的姿态从雪山上方经过（视频 0:55 处）。于是当晚八九点钟，从一个多小时车程外的住处再开车回到这里，开始漫长的拍摄。最终你看到的是一张成片，其实当晚拍了 300 多张，经过筛选和整合才形成最终效果（视频 1:19 处）。","xe":"With the vantage set, he planned the sky in the Planit app: January's winter Milky Way shows no galactic core, but the tail of the galaxy would pass vertically right above the snow mountains (at 0:55 in the video). So around eight or nine that night, after driving back over an hour from their lodging, the long shoot began. The finished frame hides 300-plus exposures, later culled and merged (at 1:19 in the video)."},{"t":"img","f":"v03","w":800,"h":480},{"t":"p","x":"时间合成的原理很简单：机位不动、连续拍摄，记录同一个位置在不同时间的光线。比如一辆大车经过时，大灯把整段弯道照亮，下一辆开到另一段，又照亮另一片（视频 1:47 处）；遇到反向行驶的车辆，还能记下红色的尾灯。持续不断地拍，保证每个拐弯都被车灯照过、最终合并时线条足够连续（视频 2:07 处）。","xe":"Time blending is simple in principle: keep the camera fixed and shoot continuously, recording the same scene as its light changes. When a truck sweeps through, its headlights light up one stretch of the hairpins; the next truck lights another (at 1:47 in the video); oncoming traffic adds red tail-light streaks. Keep firing so every bend gets lit at some point and the merged lines stay continuous (at 2:07 in the video)."},{"t":"img","f":"v04","w":800,"h":480},{"t":"img","f":"v05","w":800,"h":480},{"t":"h","x":"02 参数：车轨、星空、月光三组曝光","xe":"02 Settings: Three Exposure Sets — Trails, Sky, Moonlight"},{"t":"p","x":"第一组专门拍车轨：ISO 200、f/5.6、30 秒（视频 2:25 处）。用这么低的感光度，是因为货车的大灯非常猛，ISO 200 加 f/5.6 正好把光轨吸下来而不至于过曝。但这一组拍下来，只有地面的光轨可用，星空和地景都是一团漆黑（视频 2:45 处）。","xe":"The first set is for the light trails: ISO 200, f/5.6, 30 s (at 2:25 in the video). The low ISO exists because truck headlights are fierce — ISO 200 at f/5.6 records the streaks cleanly without blowing out. The trade-off: only ground trails survive; the sky and the landscape stay pitch black (at 2:45 in the video)."},{"t":"p","x":"第二组换参数拍星空：ISO 2500、f/2、25 秒，就能记下漂亮的银河（视频 2:57 处）。1 月是冬天，北半球只能看到银河的尾巴——那种密集又五彩缤纷的银河是夏天的银心，冬天拍不到，所以尾巴没有那么密、色彩也没有那么丰富，但位置和走向仍然清晰（视频 3:05 处）。","xe":"The second set targets the sky: ISO 2500, f/2, 25 s captures a handsome Milky Way (at 2:57 in the video). January is winter in the northern hemisphere, so only the galaxy's tail is visible — the dense, colorful arch people love is the summer core. The tail is sparser and less colorful, but its position and flow still read clearly (at 3:05 in the video)."},{"t":"img","f":"v06","w":800,"h":480},{"t":"p","x":"随着月光慢慢升起，天空被照亮，色调从纯黑变成偏蓝，月亮照到地面后 Thomas 也继续拍了几组（视频 3:53 处）——不过最终成片没有用上这部分。最后是给三菱帕杰罗拍广告素材：让朋友把车开到位，针对车单独曝光，并用 HDR 包围曝光的方式拍摄，方便后期把车合进成片（视频 4:16 处）。","xe":"As the moon rose, the sky brightened and its tone shifted from black toward blue; once moonlight hit the ground he kept shooting several more sets (at 3:53 in the video) — though the final image ended up not using them. Last came the advertising material for a Mitsubishi Pajero: a friend drove the car into position, Thomas exposed for the car separately with HDR bracketing, ready to blend it into the final frame (at 4:16 in the video)."},{"t":"img","f":"v07","w":800,"h":480},{"t":"img","f":"v08","w":800,"h":480},{"t":"h","x":"03 后期：堆栈打底，变亮刷轨","xe":"03 In Post: Stack the Base, Lighten in the Trails"},{"t":"p","x":"后期的工程文件里堆了二三十个图层（视频 4:47 处）。基底照片本身也不是一张照片，而是 20 张月光升起后、没有车灯的蓝色调照片，做平均值或中间值堆栈，把噪点压下去——主要取周围远山和没有被车灯、月光照亮的部分（视频 4:56 处）。","xe":"The post-production file carries twenty or thirty layers (at 4:47 in the video). The base plate is itself not one photo but 20 blue-toned frames shot after moonrise with no car lights, stacked with average or median blending to suppress noise — mainly supplying the surrounding ridges and areas untouched by headlights or moonlight (at 4:56 in the video)."},{"t":"img","f":"v09","w":800,"h":480},{"t":"p","x":"然后把车轨一张张融进来，图层混合模式选「变亮」：普通模式会整个盖住底下图层，而变亮只取两个图层中更亮的部分（视频 5:39 处）。车轨那层除了光轨一片漆黑，用变亮混上去就只有光轨留在画面里。逐张找到车流经过不同弯道的照片接进来，间隔拍摄造成的断线——两次快门之间车已经开走——再用画笔或仿制图章手动接上（视频 6:39 处）。远处的车灯照亮的远山，也用同样的方式一层层刷入（视频 7:10 处）。","xe":"Then the trails come in one by one, with layer blending set to Lighten: Normal mode would simply cover what is below, while Lighten keeps whichever pixels are brighter in each layer (at 5:39 in the video). A trail layer is black except for the streaks, so Lighten leaves just the light trails on the canvas. Frames capturing traffic in other bends are matched and joined; the gaps left by interval shooting — the car has driven on between shutter presses — are bridged by hand with the brush or clone stamp (at 6:39 in the video). Distant headlight glow on the far ridges gets brushed in layer by layer the same way (at 7:10 in the video)."},{"t":"img","f":"v10","w":800,"h":480},{"t":"img","f":"v11","w":800,"h":480},{"t":"p","x":"变亮混合还要配合图层蒙版使用，不然杂光也会被带进来——有了蒙版，就只把想刷入的那道光刷过来，太强的部分也能随时压回（视频 7:42 处）。全部车轨合并后盖印，由于变亮混合和堆栈把星空弄乱了，再单独找一张干净的星空用蒙版覆盖回来（视频 8:31 处）；接着用 Color Efex Pro 和 Nik Collection 里常用的工具提升亮度、对比度和质感，再局部选中山体做变形，让雪山更高大、拐弯更立体（视频 9:12 处）；最后把偏白的车轨渲染成偏红的色调（视频 9:29 处）。","xe":"Lighten blending works hand in hand with layer masks — otherwise stray light sneaks in too; with a mask you brush in only the glow you want and dial back anything too strong (at 7:42 in the video). Once all trails are merged he stamps the layers; because Lighten and the stack had mangled the stars, a clean sky frame is masked back over the top (at 8:31 in the video). Color Efex Pro and favorite Nik Collection tools then lift brightness, contrast and texture; the mountains are selectively warped so the snow peaks stand taller and the hairpin gains depth (at 9:12 in the video); finally the whitish trails are toned toward red (at 9:29 in the video)."},{"t":"img","f":"v12","w":800,"h":480},{"t":"h","x":"04 终稿：与修图师合作的广告成片","xe":"04 The Final Frame: Finishing with a Retoucher"},{"t":"p","x":"Thomas 的版本完成后，片子交给专业的汽车修图师：把 HDR 拍摄的车单独抠出来、适当放大——车保持原始尺寸在画面里显得太小——把前面的树 P 掉，让车自然地融进路面（视频 10:02 处）；广告需要更鲜艳的观感，整体饱和度也做了增强。于是就有了这张汽车在山路上绵延、车轨环绕、银河当空的广告画面（视频 10:37 处）。","xe":"After Thomas's version was done, the file went to a professional automotive retoucher: the HDR-shot car was cut out and enlarged — at its original size it would look too small in the frame — the tree in front was removed, and the car blended naturally onto the road (at 10:02 in the video); saturation was boosted overall for the punchier look an advertisement needs. The result: a car winding along the mountain road, wrapped in light trails under the Milky Way (at 10:37 in the video)."},{"t":"img","f":"v13","w":800,"h":480},{"t":"p","x":"值得一提的是：这张照片里的车都是真实出现过的车，光轨也都是真实在这条路上出现过的光，不是画上去的——它们只是出现在不同的时间，而 Thomas 用时间合成把它们合并到了一起（视频 10:49 处）。一张不可能一次拍到的照片，用三个小时的真实记录完成了。","xe":"One more thing worth noting: every car in the photo really was there, and every streak of light really crossed that road — nothing was painted in. They simply appeared at different times, and Thomas merged them through time blending (at 10:49 in the video). A photo impossible to take in one frame, built from three hours of honest recording."},{"t":"quote","x":"1. 选点先想透：离拐弯够近的广角机位加巧摄的银河规划，让画面同时有透视、雪山与垂直银河；2. 机位不动连续拍，车轨 ISO 200、f/5.6、30 秒，星空 ISO 2500、f/2、25 秒，分组建档各取所需；3. 后期用无车灯的连拍做平均值或中间值堆栈当低噪点基底，车轨图层用「变亮」混合加蒙版逐张刷入，断线用画笔或仿制图章接上；4. 星空被混合弄乱就单独覆盖回来，最后统一质感、变形与色调——照片里的每一道光都真实出现过。","xe":"1. Think the location through first: a wide-angle position close to the switchback plus Milky Way planning in Planit put perspective, snow peaks and a vertical galaxy in one frame; 2. Keep the camera fixed and shoot continuously — trails at ISO 200, f/5.6, 30 s, sky at ISO 2500, f/2, 25 s, separate sets for separate jobs; 3. In post, stack the no-car-light frames with average or median blending for a low-noise base, then brush trails in one by one with Lighten blending and masks, bridging gaps with the brush or clone stamp; 4. Mask a clean sky back over the mangled stars, then unify texture, warping and color — every streak of light in the photo really happened."},{"t":"h","x":"欢迎关注托马斯的旅行与摄影攻略","xe":"Follow Thomas for more travel & photography tips"}],"titleEn":"One Photo Took Three Hours? Star Trails and Car Trails Can Be Shot Like This"}