{"slug":"sunset-beyond-saturation","title":"晚霞照片只会狂拉饱和度？这样后期修图效果更好！","author":"Thomas看看世界","date":"2023-02-12","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247497091&idx=1&sn=246ce704e3fea14feb4ff024f7238fd1&chksm=eb820be7dcf582f1d6c1e2341bc568e6d2fe0aabe6e879932cf188b547d0408fd4c1e1b323fd&scene=21#wechat_redirect","blocks":[{"t":"p","x":"朝霞晚霞类照片，是风光摄影师们常常拍摄的题材。","b":false,"xe":"Dawn-glow and sunset-glow photos are a subject landscape photographers shoot all the time."},{"t":"p","x":"不过在调色的时候，人们很容易过犹不及，经常可以看到一些色彩夸张到失真的霞光照片。","b":false,"xe":"But when grading, it is easy to go too far — we often see sunset photos with colors so exaggerated they look distorted."},{"t":"p","x":"今天的后期教程中，Thomas就会分享一种思路，在保证色彩耐看的前提下，也能体现云霞的美。","b":false,"xe":"In today's post-processing tutorial, Thomas will share an approach that keeps colors pleasing while still showing the beauty of the glowing clouds."},{"t":"img","f":"img-01","w":1080,"h":756},{"t":"h","x":"视频","xe":"Video"},{"t":"bili","bv":"BV1iG4y1K73U","bpic":"bili-1","bt":"晚霞照片只会狂拉饱和度？这样后期修图效果更好！"},{"t":"p","x":"这一篇是上面视频的完整图文整理。Thomas 打开了当年在意大利拍摄一张晚霞照片的 PSD 源文件，把每一步的处理思路从头到尾讲了一遍：如何在不大面积拉饱和度的情况下保住云霞的美，又如何在提亮阴影之后重建画面的视觉中心。下面配上视频关键帧截图，适合先看图理清思路，再到视频里听细节。","xe":"This is the fully illustrated companion to the video above. Thomas opens the PSD source file of a sunset shot in Italy and walks through every step of the edit: how to keep the glow beautiful without cranking saturation, and how to rebuild a visual center after lifting the shadows. Keyframe screenshots are paired below — skim them for the framework, then dive into the video for the details."},{"t":"p","x":"先看成片。整期教程的最终效果就是下面这张：晚霞的紫红足够突出，但整张照片的饱和度始终控制在一个舒服的水平，山体、小镇和天空层次分明。","xe":"Start with the finished image below — the end result of the whole tutorial: the magenta of the sunset stands out, yet overall saturation stays comfortable, with mountain, village and sky each keeping their own layer of detail."},{"t":"img","f":"v02","w":852,"h":480},{"t":"h","x":"01 两大难点：色彩把控与视觉中心","xe":"01 The Two Challenges: Color Control and a Visual Center"},{"t":"p","x":"晚霞类照片有两点特别难处理。第一是色彩的把握：很多朋友喜欢给晚霞继续加饱和度，结果色彩浓艳到失真。第二在亮度上：原始照片比较暗，暗部里重点反而突出；可一旦像很多人那样把阴影大幅提亮，整张照片就缺了一个核心的兴趣点（视频 0:26 处）。","xe":"Sunset photos pose two difficulties. The first is color control: many people keep adding saturation until the glow looks garish and unreal. The second is brightness: the raw file is dark, and that darkness actually makes the focal point stand out — but once you lift the shadows the way so many do, the photo loses its core point of interest (at 0:26 in the video)."},{"t":"img","f":"v01","w":852,"h":480},{"t":"p","x":"所以这期教程的两条主线就此确定：一是色彩怎么搭配才耐看，二是对这样一张朝霞晚霞照片，如何重新分布亮度、重新处理出一个视觉中心。Thomas 直接展示了当时的工作文件，所有图层都没有隐藏，一步一步还原整个修图过程。","xe":"So the tutorial follows two threads: how to combine colors so they stay pleasing, and how to redistribute brightness to rebuild a visual center in a sunset frame. Thomas opens his original working file with every layer visible and reconstructs the edit step by step."},{"t":"h","x":"02 基础调整：提亮画面与冷暖分离","xe":"02 Base Edits: Lifting the Image and Separating Warm and Cool"},{"t":"p","x":"最底部的图层以智能对象形式打开——在 Camera Raw 里编辑后按住 Shift 键点击打开即可，好处是所有参数都保存在文件里，随时可以回来重新调整。基础面板中首先做提亮：增加曝光，阴影和黑色都提升，因为原图整体偏暗；提亮的同时加一点去除薄雾，Thomas 的去除薄雾一般不超过 20；再适当增加清晰度和对比度。值得注意的是饱和度反而降了 15——原图色彩已经很鲜艳，先降下来，后面再把想要突出的颜色加回去（视频 1:46 处）。","xe":"The bottom layer is opened as a Smart Object — edit in Camera Raw, then click Open with Shift held down — so every parameter stays embedded in the file and can be revisited anytime. In the Basic panel the first move is lifting: raise exposure and boost shadows and blacks, since the raw file is dark overall. Add a touch of Dehaze while lifting — Thomas rarely goes past 20 — plus moderate Clarity and Contrast. Saturation, notably, drops by 15: the raw colors are already vivid, so pull them down first and re-introduce the ones you want to accent later (at 1:46 in the video)."},{"t":"img","f":"v03","w":852,"h":480},{"t":"img","f":"v04","w":852,"h":480},{"t":"p","x":"曲线拉了一个微微的 S 型，是很常规的提亮操作。真正的重点在混色器：色相上把红色调得更艳、紫色更偏紫红；饱和度上则做分级处理——绿色、蓝色、青色这些冷色的饱和度整体降低，红色、品红这些暖色的饱和度提升。这样照片就有了饱和度上的对比，而不是像原图那样所有地方都很饱和。有对比，成片就能在整体饱和度不高的情况下依然展现出晚霞的美（视频 2:43 处）。","xe":"A gentle S-curve handles the routine lift. The real key is the Mixer: hues shift red toward more vivid and purple toward magenta, while saturation is graded — cool greens, blues and cyans come down, warm reds and magentas go up. That gives the photo saturation contrast instead of the uniformly saturated raw file. With contrast in place, the final image can show off the sunset while overall saturation stays modest (at 2:43 in the video).","b":false},{"t":"img","f":"v05","w":852,"h":480},{"t":"h","x":"03 滤镜与局部：让色彩拉开层次","xe":"03 Filters and Local Adjustments: Separating the Colors"},{"t":"p","x":"接下来建了一个 Nik Collection 滤镜图层：用「中间调对比度」进一步增强画面中间调的反差；「偏光镜」则压暗蓝色、同时提升暖色饱和度，效果非常好；曲线里还加了一个经典的「提亮变暗中心点」，把周边微微压暗，首先把中间的视觉突出出来（视频 3:23 处）。","xe":"Next comes a Nik Collection filter layer: Tonal Contrast deepens the midtone contrast, while Polarization darkens the blues and boosts warm saturation at the same time — a great combination. A Curves layer adds the classic Darken/Lighten Center, gently pressing down the edges to push the viewer's eye to the middle (at 3:23 in the video)."},{"t":"img","f":"v06","w":852,"h":480},{"t":"p","x":"剩下两个 Camera Raw 滤镜做的更多是局部调整，主要用了大量的渐变滤镜和镜像滤镜。天空本身有渐变变暗的过程，在这一块加一些曝光和暖红色——原来这里没有这么暖，现在就有了暖意。这个局部处理非常重要：加了之后山体和小镇会更暖一些，画面就有了色彩的分离。一定不能整张照片全是紫红色，那样反而看不出色彩的差距（视频 4:04 处）。","xe":"The remaining two Camera Raw filters handle local work, mostly with generous use of Graduated and Radial filters. The sky already darkens gradually, so exposure and warm red are added there — warmth that was not in the original. This step matters because it warms the mountains and the village, creating color separation in the frame. Never let the whole photo go magenta, or the differences between colors simply disappear (at 4:04 in the video)."},{"t":"img","f":"v07","w":852,"h":480},{"t":"h","x":"04 亮度重塑：光线渲染与人工刷雾","xe":"04 Reshaping Light: Glow Rendering and Painted Haze"},{"t":"p","x":"把手上的组编好之后，用选区工具做了这样的蒙版，把山体选出来，然后应用以前讲过的「光线渲染」技术：新建空白图层，混合模式改成叠加或柔光，用吸管吸取云霞的紫红色，把亮度调高、饱和度调低一点，然后沿山体涂刷。刷之前用蒙版做了限制，甚至建立了亮度蒙版——保证只刷到山上原来就比较亮的部分，山体夹光就得到进一步增强（视频 4:48 处）。","xe":"After grouping the layers, a selection-based mask isolates the mountain, and the previously introduced \"glow rendering\" technique comes in: create a blank layer, set its blend mode to Overlay or Soft Light, sample the magenta of the clouds with the eyedropper, raise its brightness and lower its saturation a little, then paint along the mountain. The painting is constrained by masks — including a luminosity mask so only the already-bright ridges are touched — which strengthens the rim light on the peaks (at 4:48 in the video)."},{"t":"img","f":"v08","w":852,"h":480},{"t":"img","f":"v09","w":852,"h":480},{"t":"p","x":"接着用可选颜色做微调：加黄色、再加一点青色，别让画面太紫。处理晚霞时很多人喜欢把天空也调得发紫，结果天空是紫色、晚霞也是紫色，整个照片一片紫，反而没有了对比。然后再用选区工具把山峰轻轻选出，直接用 Camera Raw 滤镜加一点对比度就足够了（视频 5:31 处）。","xe":"Selective Color then fine-tunes the tone: add yellow, plus a touch of cyan, and keep the image from going too purple. Many people push the sky toward purple as well, so sky and sunset blur into one violet mass and the contrast is gone. After that, a soft selection over the peaks gets a modest contrast boost straight from a Camera Raw filter — that is all it needs (at 5:31 in the video)."},{"t":"p","x":"接下来是亮度的微调，让光线重新分布。比如右下角本身有灯、饱和度又高，就用一个降饱和的滤镜整体去饱和、再压一些亮度，它看起来就没那么突兀——因为这张照片要突出的核心是中间的小村庄，旁边的小房子太醒目会喧宾夺主。这里还建了一个曲线工具，拉 S 型并配合亮度蒙版，做出中间调的对比；最后曲线提亮再限制一半，只对中间进行提亮。这一步之后，整体的重心就更加突出了（视频 6:04 处）。","xe":"Brightness is then fine-tuned to redistribute the light. The lower-right corner has lamps and high saturation, so a desaturating filter tones it down and trims its brightness — the core of this photo is the village in the center, and overly prominent houses nearby would steal attention. An S-curve combined with a luminosity mask builds midtone contrast, and a final Curves lift is masked to brighten only the middle. After this pass the image's center of gravity is far stronger (at 6:04 in the video)."},{"t":"img","f":"v10","w":852,"h":480},{"t":"p","x":"然后是以前讲到过的人工刷雾：给远处的山上刷一层薄薄的雾霾。整张照片原本太「实」，缺少层次；山本身是分层的，刷上微微的雾之后，前面清晰、远处稍稍有一点模糊，纵深感立刻更好——就像傍晚空气稍稍有点不通透的真实感觉（视频 6:57 处）。","xe":"Then comes the painted-haze technique introduced in earlier tutorials: brush a thin layer of mist onto the distant mountains. The photo was too \"solid\" and lacked depth; the mountains are naturally layered, and with a whisper of haze the foreground stays sharp while the distance softens slightly — instantly more three-dimensional, like the mildly hazy air of a real evening (at 6:57 in the video)."},{"t":"img","f":"v11","w":852,"h":480},{"t":"h","x":"05 收尾对比：质感和饱和度的取舍","xe":"05 Finishing Contrasts: Texture and Saturation Choices"},{"t":"p","x":"收尾做局部的柔化与锐化，而且是同时进行的操作：先整体做了一个柔化，锐化则用 Camera Raw 里增加纹理的方式。锐化时同样建立了蒙版——只有建筑和山体石头的质感比较好，让这些地方锐起来；旁边的草地、树林和天空让它柔下来会更加突出。这样对立的操作之后，山体更硬朗、草地更柔和。柔化通过两部分完成：本身加了柔化，再加上山峰更锐利之后有了对比，效果就更明显（视频 7:36 处）。","xe":"The finish applies softening and sharpening side by side: an overall softening pass first, then sharpening through the Texture slider in Camera Raw. Sharpening is masked too — only the buildings and rocky mountain faces, where texture is genuinely good, get crisped up, while the grass, woods and sky are left soft to set them off. The contrast makes the mountains harder and the meadow softer; the softening works because the sharpened peaks give it something to contrast against (at 7:36 in the video)."},{"t":"img","f":"v12","w":852,"h":480},{"t":"p","x":"最后把蓝色的饱和度进一步减弱，还是为了对比：如果天空蓝色的饱和度也很高，照片就又平了。可以看到天空紫色的饱和度其实只有 31%，并不是很艳丽的紫色；但由于蓝色、绿色、黄色的饱和度都处理得比较低，这片紫色看起来既不像大红大紫那样刺眼，又因为对比而显得自然、突出。整张照片的处理思路都是去做对比：周边刷暗一点有明暗对比，山间加雾有前后对比，石头房屋强化质感、其他地方柔化有质感对比；想突出红紫色，更重要的是把旁边的饱和度降低（视频 8:27 处）。","xe":"Finally the blues are desaturated even further — still in the name of contrast: if the sky's blue were highly saturated too, the photo would flatten out again. The purple of the sky, in fact, sits at only 31% saturation, not a particularly vivid violet; yet because the blues, greens and yellows around it are held low, it reads as natural and prominent rather than eye-searing. The whole edit is built on contrast: darkened edges for tonal contrast, painted haze for depth contrast, hardened rock and softened greenery for texture contrast — and to make the reds and purples stand out, the real work is lowering the saturation of everything around them (at 8:27 in the video)."},{"t":"img","f":"v13","w":852,"h":480},{"t":"quote","x":"1. 晚霞照片不要全图拉饱和：先全局降饱和，再用混色器分级——暖色提、冷色降，靠对比让霞光自然凸显；2. 提亮阴影之后要重建视觉中心：暗角、渐变滤镜和受限的曲线提亮，把光线重新集中到主体上；3. 光线渲染 = 空白图层叠加/柔光 + 吸色涂刷，配合选区与亮度蒙版只刷亮部；4. 锐化与柔化同时进行、该锐的锐该柔的柔，质感和饱和度一样，靠差异化对比才耐看。","xe":"1. Don't crank global saturation on sunset photos: lower it overall first, then grade it in the Mixer — warm hues up, cool hues down — so contrast makes the glow stand out naturally; 2. After lifting shadows, rebuild a visual center: vignettes, graduated filters and a masked Curves lift re-focus the light on your subject; 3. Glow rendering = a blank Overlay/Soft Light layer plus color-sampled painting, constrained by selection and luminosity masks so only bright areas are touched; 4. Sharpen and soften at the same time — sharp where texture earns it, soft where softness helps. Like saturation, texture stays pleasing through differentiated contrast."},{"t":"img","f":"img-02","w":756,"h":1890}],"titleEn":"Only Cranking Saturation for Sunset Photos? This Post-Processing Approach Works Better"}