{"slug":"time-blending-low-light","title":"ISO3200画质竟然这么好？暗光环境原来还能这么拍！","author":"Thomas看看世界","date":"2019-10-27","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247489693&idx=1&sn=7f4b2498ae4d1621c82b637db900c90b&chksm=eb81e6f9dcf66fefc02c5ef42cb788cde5ab16d803cf88f638c2172b0c171e88f9edb7afbb24&scene=21#wechat_redirect","blocks":[{"t":"h","x":"Thomas看看世界","xe":"Thomas Chu Photo"},{"t":"p","x":"熟悉托马斯的朋友对下面一张照片都不陌生。这张ISO3200欠曝两档拍摄的照片，有幸获得了今年的国家地理摄影大赛城市类第一名。","b":false,"xe":"Those who know my work know this photo well. Shot at ISO 3200 and two stops underexposed, it won first place in the city category of this year's National Geographic photography contest."},{"t":"img","f":"img-02","w":1080,"h":720},{"t":"p","x":"但因为是高ISO拍摄，因此后期我做了大量的降噪，上面这张照片放大看的话，还是丢失了很多质感和细节。","b":false,"xe":"But because it was shot at high ISO, I had to denoise heavily in post — enlarged, the photo still loses a lot of texture and detail."},{"t":"p","x":"因此我在发到微博和打印输出的时候，又制作了另外一个版本。","b":false,"xe":"So for posting on Weibo and for printing, I produced another version."},{"t":"p","x":"这个版本是用高ISO抓拍的人物，和低ISO长曝光拍摄的背景，进行“时间合成”得到的，画质非常细腻。","b":false,"xe":"This version time-blends a high-ISO candid capture of the person with a low-ISO long exposure of the background — yielding exquisite image quality."},{"t":"img","f":"img-03","w":1080,"h":720},{"t":"p","x":"“时间合成”也是我在拍摄夜景人文照片时，经常用到的技术。今天我会以下面的照片为例，和大家用视频演示如何操作。","b":false,"xe":"Time blending is a technique I often use for night-time humanistic photography. Today I'll demonstrate it with the photos below."},{"t":"img","f":"img-04","w":1080,"h":710},{"t":"h","x":"视频教程","xe":"Video Tutorial"},{"t":"bili","bv":"BV1QE411a7FU","bpic":"bili-1","bt":"ISO3200画质竟然这么好？暗光环境原来还能这么拍！"},{"t":"p","x":"这一篇是上面视频的图文整理。Thomas 以一张格陵兰的极光人文照片为例，完整演示了「时间合成」技术在暗光拍摄中的应用——高 ISO 抓拍人物、低 ISO 长曝光拍背景，再在 Camera Raw 与 PS 中统一次性融合。全文按视频顺序配有关键帧截图，方便对照操作。","xe":"This is the fully illustrated companion to the video above. Using an aurora street photo from Greenland, Thomas demonstrates the \"time blend\" technique for low-light photography — a high-ISO burst for the person, a low-ISO long exposure for the background, unified and merged in Camera Raw and Photoshop. Keyframe screenshots follow the video in order for easy reference.","b":false},{"t":"p","x":"先看成片。下面这张就是最终的时间合成结果：极光、彩色小屋与独行的路人在同一画面里，背景干净无噪点，人物又保留了瞬间的动感（视频 2:01 处）。它是怎么来的？往下看。","xe":"Start with the finished image: this is the final time blend — aurora, colorful cabins and a lone walker sharing one frame, the background clean and noise-free while the person keeps a sense of moment (at 2:01 in the video). How was it made? Read on.","b":false},{"t":"img","f":"v04","w":852,"h":480},{"t":"h","x":"01 起源：晚霞与灯火难两全的夜景","xe":"01 Origins: Sunsets and City Lights Rarely Coincide"},{"t":"p","x":"时间合成最早应用在夜景照片中（视频 0:30 处）：那些既有浓烈晚霞、又有城市璀璨灯光的照片，多半是合成的——因为大部分城市亮灯时，晚霞早就过去了。它的关键前提，是相机放在三脚架上纹丝不动，连焦段和对焦都不能改变，这样不同时间拍的照片才能用蒙版轻松融合（视频 0:51 处）。","xe":"The time blend started in night photography (at 0:30 in the video): photos with both blazing sunsets and glittering city lights are mostly blended, because by the time most cities light up, the sunset is long gone. The prerequisite: the camera sits tripod-locked without any movement — even focal length and focus must not change — so frames taken at different times can be merged effortlessly with masks (at 0:51 in the video).","b":false},{"t":"img","f":"v02","w":852,"h":480},{"t":"p","x":"视频里的伊斯坦布尔案例（1:20 处）：架好机位后先在晚霞时分拍一张，保持不动等 40 分钟，到蓝调时刻天空变蓝、城市灯亮，再拍第二张，后期用蒙版把两张合并成「有晚霞的夜景」（1:50 处）。不过这种玩法改变了现场原貌；这期要讲的，是时间合成的另一个用途——换取更好的画质（2:03 处）。","xe":"The Istanbul case in the video (at 1:20): set up the tripod, shoot one frame at sunset, hold still for 40 minutes until the blue hour turns the sky blue and the lights come on, shoot a second frame, then merge them with a mask into \"a night scene with sunset\" (at 1:50). That use, though, alters reality; this episode is about another purpose of the time blend — buying better image quality (at 2:03 in the video).","b":false},{"t":"img","f":"v03","w":852,"h":480},{"t":"h","x":"02 拍摄设计：高 ISO 抓拍加低 ISO 长曝","xe":"02 The Setup: High-ISO Snap Plus Low-ISO Long Exposure"},{"t":"p","x":"在格陵兰，Thomas 想要一个信息量丰富的画面：当地特色的街道与彩色房子、穿着与生活状态清晰可辨的当地人、再加上格陵兰标志性的极光（视频 2:07-2:31 处）。他先设置 ISO3200、F2.8、1/20 秒，A 档欠三档曝光，用索尼 A7M4 与 16-35 镜头拍摄，记录下路人在街道上走动的瞬间（2:34-2:56 处）。","xe":"In Greenland, Thomas wanted an information-rich frame: the town's signature street with colorful houses, locals whose dress and daily life read clearly, plus Greenland's iconic aurora (at 2:07-2:31 in the video). He set ISO 3200, f/2.8, 1/20 s — Aperture mode underexposed by three stops — on a Sony A7M4 with a 16-35mm lens, and recorded passersby moving down the street (at 2:34-2:56 in the video).","b":false},{"t":"img","f":"v05","w":852,"h":480},{"t":"p","x":"问题来了：如果只靠这一张，在 Camera Raw 里追回阴影细节、提亮三档后，背景的噪点简直惨不忍睹（视频 2:59-3:32 处）——毕竟为了把快门压到 1/20 秒、不让人糊成一团，前期欠曝得非常狠。","xe":"Here's the problem: relying on that one frame alone, recovering shadows and lifting three stops in Camera Raw makes the background unbearably noisy (at 2:59-3:32 in the video) — after all, the scene was underexposed hard just to keep the shutter at 1/20 s and the person from smearing.","b":false},{"t":"img","f":"v06","w":852,"h":480},{"t":"p","x":"解决方法就是时间合成：三脚架机位完全不动，马上把参数改成 ISO200、F6.3、1/30 秒（视频 3:41 处）。ISO200 画质优秀，F6.3 的小光圈保证从前景的草到后面的建筑都清晰。这样就有了长曝光的高画质底板，加上刚才的高 ISO 人物素材（4:05 处）。人物最终选了那个孤独的背影——形态特别，也最符合格陵兰的气质（4:17 处）。","xe":"The fix is the time blend: with the tripod untouched, he immediately changed to ISO 200, f/6.3, 1/30 s (at 3:41 in the video). ISO 200 delivers excellent quality, and f/6.3 keeps everything from the foreground grass to the buildings behind tack-sharp. That long exposure becomes the high-quality base plate, on top of the earlier high-ISO person frames (at 4:05). The chosen subject was the lone figure — a striking silhouette, and truer to Greenland's mood than a pair (at 4:17 in the video).","b":false},{"t":"img","f":"v07","w":852,"h":480},{"t":"h","x":"03 Camera Raw：统一曝光与色彩","xe":"03 Camera Raw: Unifying Exposure and Color"},{"t":"p","x":"时间合成的第一步，是把两张照片的基本色彩和曝光统一（视频 4:38 处）。背景底板先调整：曝光略微增加，灯光稍稍压回，阴影继续提升让极光和细节更突出，高光再降一点——得到一张暗部亮部细节都清楚的高画质底片（4:43-5:20 处）。","xe":"Step one of the blend: unify the basic color and exposure of the two frames (at 4:38 in the video). The base plate goes first: a touch more exposure, the lights pulled back slightly, shadows lifted so the aurora and detail stand out, highlights tamed — leaving a high-quality plate with clean detail everywhere (at 4:43-5:20 in the video).","b":false},{"t":"p","x":"人物原片则要大幅调整：曝光增加约三档、阴影提升——高 ISO 照片一提阴影，噪点立刻惨不忍睹，高光当然也要适当降下来（视频 5:33-6:05 处）。两张照片虽然只隔几分钟拍摄，白平衡却有差异：一张 3423，另一张调成 3400 再加 23 的色调；画质好的那张更偏紫，所以色调继续强化到 32，色温也向 3500 靠拢，直到人物这一块两张基本一致（6:07-6:50 处）。","xe":"The person frame needs heavy work: roughly three stops more exposure plus shadow recovery — and lifting shadows on a high-ISO file unleashes horrifying noise, with highlights eased down as well (at 5:33-6:05 in the video). Though shot minutes apart, the two frames differ in white balance: one at 3423, the other set to 3400 with +23 tint; the cleaner frame leans purple, so the tint pushes on to 32 and the temperature toward 3500 until the person's area matches (at 6:07-6:50 in the video).","b":false},{"t":"p","x":"人物原片噪点太多，直接做减噪：噪点大幅降低的同时细节也丢失很多，所以按住 Alt 键把人物边缘用蒙版勾出来，把降噪稍稍减弱，追回一点锐度和细节（视频 7:27-7:47 处）。另外 Thomas 特意选了带一点动感模糊的人——它代表动感，又不至于像更长曝光那样糊得看不出人形（7:00-7:23 处）。","xe":"The person frame is too noisy, so noise reduction comes straight in: grain drops dramatically but detail goes with it — so hold Alt and mask out the figure's edges, easing the reduction there to win back a bit of sharpness (at 7:27-7:47 in the video). Thomas also deliberately picked a person with slight motion blur — it suggests movement without dissolving the figure the way a longer exposure would (at 7:00-7:23 in the video).","b":false},{"t":"img","f":"v09","w":852,"h":480},{"t":"h","x":"04 智能对象与蒙版融合","xe":"04 Smart Objects and Mask Blending"},{"t":"p","x":"打开照片时有个小技巧：把鼠标悬停在「打开图像」按钮上，按住 Shift，它会变成「打开对象」——照片以智能对象形式进入 PS（视频 7:53-8:09 处）。智能对象双击就能回到 Camera Raw 重新调参，之前的所有调整都在，无损且方便反悔。接着选中新图层，拷贝到另一个文档，两张照片就都在一个 PS 文件里了（8:28-8:36 处）。","xe":"A small trick when opening: hover over \"Open Image\", hold Shift, and it becomes \"Open Object\" — the photo enters Photoshop as a Smart Object (at 7:53-8:09 in the video). Double-click a Smart Object and you are back in Camera Raw with every adjustment intact — non-destructive and easy to revisit. Then copy the layer across into the other document so both frames live in one PS file (at 8:28-8:36 in the video).","b":false},{"t":"img","f":"v10","w":852,"h":480},{"t":"p","x":"融合阶段：给上层建立蒙版，选黑色画笔、100% 不透明度，把人物完整涂抹出来（视频 8:46-9:04 处）。因为两张的曝光早已调得非常接近，涂完几乎看不出痕迹；涂多了就把画笔缩小（键盘左括号、右括号键可缩放画笔），切换白色画笔把周边涂回高画质图层，阴影太重的地方也弱化一点；按住 Alt 单击还能随时检查蒙版状态（9:16-9:59 处）。","xe":"Blending: add a mask to the top layer, pick a black brush at 100% opacity, and paint the figure in completely (at 8:46-9:04 in the video). Because the two exposures were matched beforehand, the paint-over is virtually invisible; where you overshoot, shrink the brush (left and right bracket keys resize it), switch to white and paint the surroundings back to the high-quality layer, softening any heavy shadow; Alt-click reviews the mask at any time (at 9:16-9:59 in the video).","b":false},{"t":"img","f":"v11","w":852,"h":480},{"t":"p","x":"合成后如果白平衡仍有问题，智能对象的优势就凸显了：双击人物图层回到 Camera Raw，把白平衡再往紫色偏移一点、暖色与对比度稍增，PS 自动更新（视频 10:16-10:55 处）——两张照片的曝光与色彩就这样进一步融合，几乎看不出任何区别（10:06 处）。","xe":"If the white balance still bothers you after blending, this is where Smart Objects shine: double-click the person layer to reopen Camera Raw, nudge the balance further toward purple, add a touch of warmth and contrast, and Photoshop updates automatically (at 10:16-10:55 in the video) — the two frames converge even further, with virtually no visible seam (at 10:06).","b":false},{"t":"img","f":"v12","w":852,"h":480},{"t":"p","x":"最后用 Ctrl+Alt+Shift+E 把两张照片盖印成一个图层（视频 10:57 处）。成片里，长曝光的背景几乎没有任何噪点，人物带一点噪点却更有模糊的动感——既有瞬间性的人物，又有长曝光得到的极光和干净背景，这就是时间合成在暗光人文摄影里换取高画质的应用（11:01-11:24 处）。","xe":"Finally, Ctrl+Alt+Shift+E stamps both frames into one layer (at 10:57 in the video). In the finished photo the long-exposed background carries almost no noise, while the person keeps a little grain that reads as motion — an instant human figure over the aurora and clean backdrop only a long exposure can give: the time blend buying high quality in low-light street work (at 11:01-11:24 in the video).","b":false},{"t":"img","f":"v13","w":852,"h":480},{"t":"quote","x":"1. 时间合成的前提是机位、焦段与对焦完全固定，不同时刻的照片才能用蒙版无缝融合；2. 暗光人文一鱼两吃——高 ISO 快门抓人物瞬间，低 ISO 长曝光收干净背景；3. 合成前先在 Camera Raw 统一两张的曝光与白平衡，融合才不留痕迹；4. 用智能对象打开照片随时可改，蒙版画笔分工涂抹，最后盖印图层收尾。","xe":"1. The time blend demands a locked tripod, focal length and focus, so frames from different moments merge seamlessly with masks; 2. In low light, split the job — high ISO with fast shutter for the person, low ISO long exposure for a clean background; 3. Unify exposure and white balance in Camera Raw first, or the blend will show; 4. Open as Smart Objects for endless revisions, paint each part with mask brushes, and finish with a stamped layer."}],"titleEn":"ISO 3200 with Such Good Quality? Shooting in Low Light with Time Blending"}