{"slug":"sunrise-sunset-rules","title":"摄影师最爱的日出日落怎么拍？从热门大片中总结的规律技巧！","author":"Thomas看看世界","date":"2022-06-05","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247495556&idx=1&sn=644e805f9539c4c6af4d9e729acd1e00&chksm=eb8211e0dcf598f612d4b1f8413a21bc2f00af525ef654f07508257384d3b31ec14db6c27efb&scene=21#wechat_redirect","blocks":[{"t":"p","x":"日出日落光线色彩柔和，明暗层次丰富，是风光摄影师最喜爱的拍摄时间。","b":false,"xe":"With soft light and color and rich tonal layering, sunrise and sunset are landscape photographers' favorite times to shoot."},{"t":"p","x":"不过逆光、侧光和顺光，分别适合哪些不同的日出日落场景？","b":false,"xe":"But which sunrise/sunset scenes suit backlight, side light and front light respectively?"},{"t":"p","x":"日出光线取景构图时有何技巧？","b":false,"xe":"What are the tricks for framing and composition in sunrise light?"},{"t":"p","x":"地景如何拍摄才更有层次却不显杂乱？","b":false,"xe":"How should the foreground be shot to have depth without looking messy?"},{"t":"img","f":"img-01","w":1080,"h":712},{"t":"p","x":"今天Thomas会和大家一起，剖析Max Rive和Marc Adamus两位摄影师的风光大片，总结一些常见的规律和技巧。","b":false,"xe":"Today Thomas will analyze landscape masterpieces by Max Rive and Marc Adamus together with you, summing up some common patterns and techniques."},{"t":"h","x":"视频","xe":"Video"},{"t":"bili","bv":"BV1J34y1L7L4","bpic":"bili-1","bt":"摄影师最爱的日出日落怎么拍？从热门大片中总结的规律技巧！"},{"t":"p","x":"这一篇是上面视频的图文整理。日出日落光线柔和、层次丰富，是风光摄影的黄金时段，但热门大片背后其实有规律和套路。Thomas 剖析了 Max Rive、Marc Adamus 与自己的作品，把日出日落的构图规律按逆光、侧光、顺光三种光线情况归纳成一套可复用的方法论，并配上关键帧截图。","xe":"This is the illustrated companion to the video above. Sunrise and sunset offer soft light and rich layers — the golden hours of landscape photography — yet behind the popular masterpieces lie rules and patterns. Analyzing work by Max Rive, Marc Adamus and himself, Thomas organizes sunrise/sunset composition into a reusable method by three lighting situations — backlight, sidelight and frontlight — with keyframe screenshots throughout."},{"t":"p","x":"先看总览。下面这张卡截自视频 0:50 处：日出日落的构图规律按三大光线情况展开——逆光、侧光与顺光，各自适合不同的场景，下文逐一拆解。","xe":"Start with the overview. This card, captured at 0:50 in the video, frames the method: sunrise/sunset composition unfolds across three lighting situations — backlight, sidelight and frontlight — each suited to different scenes, unpacked one by one below."},{"t":"img","f":"v01","w":852,"h":480},{"t":"h","x":"01 逆光进阶：让太阳入画","xe":"01 Backlight, Leveled Up: Bringing In the Sun"},{"t":"p","x":"拍日出日落最常用的就是逆光。逆光下要留意太阳的位置，寻找沙漠、山峦这类层次感强的物体，前景则选岩石、地面、水面等有纹理、有光影的元素（视频 1:05 处）。把太阳拍进画面时，它会自然形成强烈的视觉中心——但太阳不是放哪都行：光板天（没有云）时，最佳时机往往只有太阳刚冒出地平线的一两分钟；有一点云的话，太阳的位置可以稍稍高一点，但都不能太高（视频 2:29 处）。","xe":"Backlight is the workhorse of sunrise and sunset shooting. Watch the sun's position, seek out layered subjects like deserts and mountains, and choose foregrounds — rock, ground, water — that carry texture and light-shadow interplay (at 1:05 in the video). With the sun in frame it becomes a powerful visual anchor — but it cannot go just anywhere: under a cloudless sky the best window may last only a minute or two as the sun clears the horizon; with some cloud the sun can sit slightly higher, though never too high (at 2:29 in the video)."},{"t":"img","f":"v02","w":852,"h":480},{"t":"p","x":"想拍出明显的星芒，光圈要小——F13、F16 甚至 F20——但还不够：一般需要让某个东西把太阳半遮住，比如地平线（视频 3:13 处）、树枝，或者一片云。太阳被半遮时，光芒会从遮挡边缘发散出来，星芒效果立刻强烈得多。","xe":"For a pronounced sunstar the aperture must be small — f/13, f/16, even f/20 — but that alone is not enough: you generally need something to partially occlude the sun, such as the horizon (at 3:13 in the video), a branch, or a strip of cloud. With the sun half-hidden, rays fan out from the occluding edge and the starburst becomes far stronger."},{"t":"img","f":"v03","w":852,"h":480},{"t":"p","x":"另外要注意太阳的高度与位置：同样是一片沙漠，太阳挂在画面正中反而会干扰视线，让人无法聚焦到最核心的纹理与层次上（视频 3:43 处）。所以取太阳入画，更多用于有明确视觉中心、且太阳能与地景形成呼应的场景。","xe":"Also mind the sun's height and placement: over the same desert, a sun hanging dead-center can actually disturb the gaze, keeping the eye from settling on the essential textures and layers (at 3:43 in the video). So bring the sun into frame mainly when there is a clear focal anchor and the sun converses with the landscape."},{"t":"img","f":"v04","w":852,"h":480},{"t":"h","x":"02 逆光取层次：不把太阳拍进来","xe":"02 Backlight for Layers: Leaving the Sun Out"},{"t":"p","x":"第二种情况是太阳位置稍高、或采用侧逆光时，干脆不把太阳取进画面，转而抓拍地景的层次（视频 3:26 处）。这类照片从近到远不断由暗变亮，山体或沙丘最上面的棱线是亮的、下面是暗的——背光面与受光边缘形成漂亮的对比（视频 3:56 处）。拍沙漠、群山大多用这种构图。","xe":"The second situation: when the sun sits slightly higher or you are working in semi-backlight, simply leave it out of the frame and hunt for layered terrain instead (at 3:26 in the video). In such photos the scene grows steadily brighter from near to far, with the crest of each dune or ridge lit and its face in shadow — the shaded side against the sunlit edge makes a beautiful contrast (at 3:56 in the video). Deserts and mountain ranges are mostly shot this way."},{"t":"img","f":"v05","w":852,"h":480},{"t":"p","x":"拍这类逆光场景，前景的纹理极其重要：沙漠的纹理、岩石的纹路、山体的立体感，都是画面的立足点（视频 4:46 处）。对比一下：纯逆光下沙丘只有顶部一点点是亮的，而侧光会让明暗各占一半——两种光线交叉利用，层次与立体感兼得（视频 7:46 处）。","xe":"In such backlit scenes the foreground texture is decisive: dune ripples, rock patterns, the sculptural relief of a mountain — these carry the frame (at 4:46 in the video). Compare: in pure backlight only the crest of a dune catches light, while sidelight splits the frame about half lit and half shadowed — use the two in combination and you gain both layering and volume (at 7:46 in the video)."},{"t":"img","f":"v06","w":852,"h":480},{"t":"h","x":"03 半透明与高反光：逆光的亮点","xe":"03 Translucence and Reflection: Backlight's Bright Spots"},{"t":"p","x":"逆光最迷人的诀窍，是寻找半透明的物体：它们中间暗、边缘亮，轮廓感极强（视频 5:06 处）。仙人掌的绒毛会被照亮（视频 5:21 处）；树叶逆光下变成半透明的透亮状态；牛、羊驼的毛发有柔柔的轮廓光；水流被打成半透明，冰面水面同样出彩；还有胡杨这类植物，逆光能把树叶照得透出绚烂的色彩（视频 6:11 处）。","xe":"Backlight's most enchanting trick is hunting translucent subjects: dark at the core and bright at the edges, they read as pure contour (at 5:06 in the video). The fuzz on a cactus catches light (at 5:21 in the video); leaves turn translucent and glowing; the fur of cattle acquires a soft rim; flowing water becomes semi-transparent, and ice excels too; and for plants like the desert poplar, backlight ignites the foliage into brilliant color (at 6:11 in the video)."},{"t":"img","f":"v07","w":852,"h":480},{"t":"img","f":"v08","w":852,"h":480},{"t":"p","x":"另一类是高反光物体：河流、道路、水面、玻璃。Max Rive 的照片经常取入逆光下的河流——河流反光率特别高，比周围暗部亮出许多，明暗反差把线条感托出来，突出引导线的作用（视频 6:56 处）。逆光拍人也非常壮观：人物偏暗、背景亮，明暗对比强烈，轮廓光把人与背景分离；有太阳时，人还可以与太阳互动——看着太阳、指着太阳，阳光又洒回人身上，形成很好的视觉流动（视频 7:01 处）。","xe":"The other class is highly reflective subjects: rivers, roads, water, glass. Max Rive's frames often include a river in backlight — water reflects so strongly that it shines far brighter than its dark surroundings, and that contrast throws the line into relief, underlining its role as a leading path (at 6:56 in the video). Backlit people are spectacular too: the figure darkens against a bright background, rim light peeling them off the backdrop; with the sun in frame, person and sun can interact — gazing at it, pointing at it, sunlight spilling back onto the body — creating a lovely visual circuit (at 7:01 in the video)."},{"t":"img","f":"v09","w":852,"h":480},{"t":"h","x":"04 侧光：立体感的另一半","xe":"04 Sidelight: The Other Half of Dimension"},{"t":"p","x":"侧光的适用场景比逆光少，主要用在物体特别有立体感、特别有层次的时候（视频 7:41 处）。拍沙漠除了逆光，侧光也很常用：逆光只有顶部一点点亮，侧光则明暗各半、分界清晰，立体感更突出（视频 7:54 处）。拍山峰时用侧光把一侧打亮、另一侧留在阴影里；拍大地纹理同样适合侧光（视频 8:14 处）。","xe":"Sidelight suits fewer scenes than backlight, and works mainly when the subject is exceptionally sculptural and layered (at 7:41 in the video). For deserts it rivals backlight: where backlight lights only the crest, sidelight splits light and shadow about half and half with a crisp boundary, and the volume reads stronger (at 7:54 in the video). For peaks, sidelight ignites one face and leaves the other in shadow; earth textures take to it just as well (at 8:14 in the video)."},{"t":"img","f":"v10","w":852,"h":480},{"t":"img","f":"v11","w":852,"h":480},{"t":"h","x":"05 顺光：只为日照金山","xe":"05 Frontlight: Only for Alpenglow"},{"t":"p","x":"自然风光里顺光拍日出日落，基本只有一种情况值得拍——日照金山（视频 8:31 处）。关键是要等待「近处暗、远处亮」的时刻：前景还压在阴影里，远处的山峰已被染成金色。有些朋友会等到前景也被照亮，但那样画面会特别杂乱、主体不突出（视频 8:50 处）。","xe":"In natural landscape work there is essentially one frontlit sunrise/sunset scene worth shooting — alpenglow on a snow peak (at 8:31 in the video). The key is to wait for the moment when the near ground is dark and the distance is bright: the foreground still sunk in shadow while the far peaks have turned gold. Some wait until the foreground is lit too, but that leaves the frame cluttered and the subject weak (at 8:50 in the video)."},{"t":"img","f":"v12","w":852,"h":480},{"t":"p","x":"前景暗、背景亮之后，还可以进一步做冷暖对比：把近处的暗部白平衡调冷一点，远处的日照金山恢复成金色的暖白平衡——明暗对比之外再叠加冷暖对比，顺光照片就有了看点（视频 9:06 处）。顺光层次感本就偏弱，所以同样要寻找人物、引导线等前景，为画面搭好骨架（视频 9:21 处）。","xe":"Once near-dark and far-bright are set, push further into a warm-cool contrast: cool the white balance of the dark foreground a touch while restoring the alpenglow to its golden warmth — layered on top of the brightness contrast, this gives the frontlit frame its point of interest (at 9:06 in the video). Since frontlight is inherently weak in depth, hunt for foreground anchors — a figure, a leading line — to build the frame's skeleton (at 9:21 in the video)."},{"t":"img","f":"v13","w":852,"h":480},{"t":"quote","x":"1. 逆光是日出日落的主力：太阳入画要挑时机与位置，光板天只有一两分钟；小光圈加半遮挡才出明显星芒；2. 太阳稍高或侧逆光时，把画面交给层次——由暗到亮的递进与棱线受光，靠前景纹理立足；3. 半透明物体与高反光物体是逆光的两大亮点：轮廓光与引导线都由此而来；4. 侧光适合立体感强的沙漠山峰，明暗各半；顺光留给日照金山，等近暗远亮，再叠加冷暖对比。","xe":"1. Backlight is the mainstay of sunrise and sunset: bringing the sun in takes timing and placement — a minute or two under a cloudless sky — and a small aperture plus a partial occlusion for a true sunstar; 2. When the sun rides higher or you work semi-backlit, hand the frame to layers — a near-to-far brightening and lit crests, standing on foreground texture; 3. Translucent and highly reflective subjects are backlight's two bright spots: rim light and leading lines both flow from them; 4. Sidelight suits sculptural dunes and peaks with light and shadow split in half; frontlight is reserved for alpenglow — wait for dark-near, bright-far, then stack a warm-cool contrast on top."},{"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":1080,"h":608},{"t":"img","f":"img-46","w":1080,"h":608},{"t":"img","f":"img-47","w":1080,"h":608},{"t":"img","f":"img-48","w":1080,"h":608},{"t":"img","f":"img-49","w":1080,"h":608},{"t":"img","f":"img-50","w":1080,"h":608},{"t":"img","f":"img-51","w":1080,"h":608},{"t":"img","f":"img-52","w":1080,"h":608},{"t":"img","f":"img-53","w":1080,"h":608},{"t":"img","f":"img-54","w":1080,"h":608},{"t":"img","f":"img-55","w":1080,"h":608},{"t":"img","f":"img-56","w":1080,"h":608}],"titleEn":"How to Shoot Sunrises and Sunsets: Lessons from Popular Masterpieces"}