{"slug":"western-photographers-grading","title":"欧美风光摄影师是如何调色的？后期氛围渲染原来这么好用！","author":"Thomas看看世界","date":"2024-04-14","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247499634&idx=1&sn=1d99960eea91363b1c2fd04a9ca4a3e9&chksm=eb820116dcf58800f3327dcf7671a4599dfa07f7c477866be2c220e5faea26b9460d8fb6f7fe&scene=21#wechat_redirect","blocks":[{"t":"p","x":"在今天的摄影后期教程中，Thomas会和大家分享一张欧美魔幻风格风光照片的后期处理过程。","b":false,"xe":"In today's photography post-processing tutorial, Thomas will share the post-processing process of a Western magical-style landscape photo."},{"t":"p","x":"照片原图是我们徒步一周时间，在巴基斯坦川口塔峰大岩壁下拍摄的冰川上的野花，前期使用12张景深堆叠+1张曝光堆叠，技术非常的复杂。","b":false,"xe":"The original photo is of wildflowers on the glacier we shot beneath the big wall of the Trango Towers in Pakistan after a week of trekking. The shooting used 12 frames of focus stacking + 1 frame of exposure blending — a very complex technique."},{"t":"img","f":"img-01","w":1080,"h":1614},{"t":"p","x":"‍但是后期最核心的步骤，还是照片氛围感的塑造，山峰的威严和花朵的生命力，需要明暗冷暖的视觉效果去进一步呈现。","b":false,"xe":"But the most core step in post is still shaping the photo's atmosphere: the majesty of the peaks and the vitality of the flowers need light-dark and warm-cool visual effects to be further presented."},{"t":"p","x":"后期处理完整过程可见《给摄影爱好者的色彩课》第38课 - 欧美魔幻冷暖色调。","b":false,"xe":"The complete post-processing process can be seen in Lesson 38 of \"Color Lessons for Photography Enthusiasts\" (《给摄影爱好者的色彩课》) - Western Magical Warm-Cool Tones."},{"t":"h","x":"视频","xe":"Video"},{"t":"bili","bv":"BV1m1421o7Uf","bpic":"bili-1","bt":"欧美风光摄影师是如何调色的？后期氛围渲染原来这么好用！"},{"t":"p","x":"这一篇是上面视频的完整图文整理。Thomas 拆解自己在巴基斯坦川口塔峰大岩壁下拍摄的冰川野花：从 12 张景深堆叠加包围曝光的前期拍摄，到俯拍透视、变形矫正、眩光修复，再到欧美摄影师最爱的蒙版光影融合与丁达尔光渲染——一步步把一张「元素独特但缺乏氛围」的原片，塑造成山体威严、花朵迸发生命力的魔幻风格成片。全文配视频关键帧截图，先看图理清流程，再到视频里看操作细节。","xe":"This is the fully illustrated companion to the video above, where Thomas breaks down his glacier-wildflower shot from beneath the great wall of the Trango Towers in Pakistan: from 12 focus-stacked frames plus a bracketed exposure, through low-angle perspective, distortion correction and flare repair, to the mask-based light blending and Tyndall-effect rendering Western photographers love — turning an \"unusual but flat\" raw frame into a magical final image where the peaks loom majestic and the flowers brim with life. Keyframe screenshots accompany the text: trace the workflow here, then watch the details in the video.","b":false},{"t":"img","f":"v14","w":768,"h":480},{"t":"h","x":"01 前期拍摄：一周徒步换来的冰川花海","xe":"01 In the Field: A Week of Trekking for Glacier Flowers"},{"t":"p","x":"这张照片拍摄于徒步一周才能抵达的川口塔峰大岩壁下：冰川碎石之上，一丛野花开在离镜头只有 20 多厘米的地方，背后是云雾中的雪山，当时就让人非常震撼（视频 0:08-0:24 处）。但这样的场景也意味着极限的技术难度——花和山根本无法同时拍清楚。","xe":"The photo was taken beneath the great wall of the Trango Towers, a week's trek from civilization: a cluster of wildflowers blooming some twenty centimeters from the lens on glacier debris, with cloud-wrapped peaks behind — stunning at first sight (at 0:08-0:24 in the video). It is also technically brutal: flowers and mountains can never be sharp in a single frame.","b":false},{"t":"img","f":"v01","w":768,"h":480},{"t":"p","x":"解决办法是景深堆叠：对准最近的花朵合焦后，不断向后转动对焦环、让对焦距离逐渐变远，共拍摄 12 张——最前几张花清晰而远山模糊，最后几张雪山岩石锐利而花已虚掉（视频 0:57-1:11 处）。后期用 Helicon Focus 或 Photoshop 堆栈把这 12 张合成，得到前后全清晰的底片（视频 3:47 处）。","xe":"The fix is focus stacking: after focusing on the nearest flowers, keep turning the focus ring back so the focus distance creeps outward, shooting 12 frames in total — the early ones sharp on flowers and mushy on peaks, the last ones crisp on rock and blurred in front (at 0:57-1:11 in the video). Later, blend the set with Helicon Focus or Photoshop's stacking to get a fully sharp base file (at 3:47 in the video).","b":false},{"t":"img","f":"v02","w":768,"h":480},{"t":"p","x":"曝光上同时包围一张：整体欠曝两三档，把云层的细节多找回来一些（视频 1:14 处）。当然还可以欠更多，但适当保留一点过曝反而有助于强化这种天光的光感——所以只取一张包围曝光照片，专门用于后面的曝光合成（视频 1:28-1:36 处）。","xe":"Exposure gets one bracketed bonus frame: underexposed by two to three stops to pull back extra cloud detail (at 1:14 in the video). You could underexpose further, but a touch of deliberate blowout actually strengthens the feeling of skylight — so a single bracketed frame is set aside just for the exposure blend later (at 1:28-1:36 in the video).","b":false},{"t":"img","f":"v03","w":768,"h":480},{"t":"h","x":"02 机位与透视：俯拍的冲击力和代价","xe":"02 Angle and Perspective: The Power and Price of Shooting Low"},{"t":"p","x":"如果相机保持水平机位拍摄，远处的山峰几乎没有变形，但近处的花朵透视微弱，最前和最后的花大小相差不大，画面很没有冲击力（视频 2:05-2:28 处）。","xe":"With the camera level, the distant peaks barely distort, but the near flowers show almost no perspective — front and back blooms differ little in size, and the frame feels flat (at 2:05-2:28 in the video).","b":false},{"t":"img","f":"v04","w":768,"h":480},{"t":"p","x":"Thomas 的做法是把相机贴近花丛、微微向下俯拍：透视效应立刻变得强烈，最前面的花和最后面的花大小相差悬殊，前景一下子充满冲击力（视频 2:33-2:55 处）。代价是远处的雪山会显得很小、而且东倒西歪，所以后期要对它进行大幅度的变形矫正（视频 1:52 处）。矫正时他会非常小心，注意画面中横平竖直的线条，并且多次少量地加变形，给自己留足余地（视频 4:13-4:24 处）。","xe":"Thomas instead parks the camera right among the flowers and tilts down slightly: perspective instantly turns dramatic, the nearest blooms loom far larger than the far ones, and the foreground gains real punch (at 2:33-2:55 in the video). The price: the distant range shrinks and leans every which way, so it needs heavy distortion correction in post (at 1:52 in the video). He corrects carefully — watching any horizontal and vertical lines in the frame, and applying the warp in many small steps to keep headroom (at 4:13-4:24 in the video).","b":false},{"t":"img","f":"v05","w":768,"h":480},{"t":"p","x":"另一种思路是类似焦段合成的做法，但他更喜欢直接在这张照片里对后面的雪山变形，把它拉回正常状态——相当于用广角镜头夸张透视的花，配上一个正常透视的雪山（视频 3:07-3:26 处）。","xe":"The alternative would be something like focal-length blending, but he prefers warping the mountains inside this single frame back to a natural look — wide-angle, perspective-exaggerated flowers paired with a normally rendered range (at 3:07-3:26 in the video).","b":false},{"t":"img","f":"v06","w":768,"h":480},{"t":"h","x":"03 修复与合成：让底片干净可用","xe":"03 Repair and Blending: Making the Base File Usable"},{"t":"p","x":"曝光合成用蒙版完成：把欠曝的那张拖进来，用蒙版把天空部分取进来，欠曝片里的云层细节就合并到了底片上（视频 3:59-4:07 处）。之后还有一步二次变形——把远处的雪山拉得更符合视觉习惯，并把左右两边更高的山峰拉出画面，让中间的雪山显得更大、更壮观（视频 5:00-5:14 处）。","xe":"The exposure blend is mask-based: drag the underexposed frame in as a layer and mask in its sky, merging that cloud detail onto the base (at 3:59-4:07 in the video). Then comes a second warp — stretching the distant range toward what the eye expects and pushing the taller side peaks out of the frame, so the central mountain reads bigger and grander (at 5:00-5:14 in the video).","b":false},{"t":"img","f":"v07","w":768,"h":480},{"t":"p","x":"眩光是另一大敌人：当时用尼康 D750 配 14-24mm f/2.8 变焦镜头直射太阳，画面前后都出现了眩光。修复分两层——先用一个颜色图层把眩光区域的色相拉回和周围一致，再用一个柔光图层、以加深减淡的方式把明度和周围拉平，眩光基本就看不出来了（视频 4:28-4:56 与 5:26-5:43 处）。","xe":"Flare is the other enemy: shooting into the sun on a Nikon D750 with the 14-24mm f/2.8 left flares front and back. The repair has two layers — a Color-blend layer to pull the flare's hue back to its surroundings, then a Soft Light layer where dodge and burn even out the luminance, until the flare essentially vanishes (at 4:28-4:56 and 5:26-5:43 in the video).","b":false},{"t":"img","f":"v08","w":768,"h":480},{"t":"h","x":"04 氛围核心：蒙版光影融合与丁达尔光","xe":"04 The Heart of the Look: Masked Light Blending and Tyndall Rays"},{"t":"p","x":"接下来是欧美摄影师非常常用的蒙版光影融合技术。新建一个亮度/对比度图层，把亮度和对比度都大幅拉低，整个照片瞬间变暗；同时用一个色彩平衡图层给整体加冷色——画面被统一压暗、拉冷（视频 5:46-6:12 处）。","xe":"Next comes the masked light-blending technique Western photographers lean on. Add a Brightness/Contrast layer pulled far down, darkening the whole photo at a stroke; then a Color Balance layer cools everything — the frame is now uniformly darker and colder (at 5:46-6:12 in the video).","b":false},{"t":"img","f":"v09","w":768,"h":480},{"t":"p","x":"但这层暗冷只是底色：在蒙版上用黑色画笔把该亮的地方刷回来——远处的天光、花上的高光都恢复正常亮度，而远处的杂物和背景依然沉在暗冷里。明暗的层次、冷暖的对比，一下子就出来了（视频 6:13-6:31 处）。","xe":"That dark, cool pass is only the base coat: on its mask, paint back with a black brush everything that should glow — the distant skylight and the highlights on the flowers return to normal brightness while the cluttered background stays sunk in cold shadow. Layered light-dark and warm-cool contrast emerge at once (at 6:13-6:31 in the video).","b":false},{"t":"img","f":"v10","w":768,"h":480},{"t":"p","x":"然后强化丁达尔效应。除了用画笔刷，这里用的是 Digital Film Tools Rays（光线工厂）插件，把远处本来就很强劲的光线再加一层光束效果，氛围感陡增；最后以加深减淡进一步突出花朵与远山（视频 6:36-6:56 处）。","xe":"Then the Tyndall effect gets a boost. Besides brushing light by hand, Thomas uses the Digital Film Tools Rays plugin to layer extra beams onto the already strong backlight, multiplying the atmosphere; dodge and burn then push the flowers and far peaks forward (at 6:36-6:56 in the video).","b":false},{"t":"img","f":"v11","w":768,"h":480},{"t":"h","x":"05 精修统一：让花朵脱颖而出","xe":"05 Final Polish: Making the Flowers Stand Out"},{"t":"p","x":"进入色彩微调：花朵的中心加了一些橙色，花瓣则加了一些紫色，让它们从背景中脱颖而出；整体再稍稍带一点柔焦效果，同时继续用变亮变暗突出画面中心点（视频 6:59-7:16 处）。","xe":"On to fine color work: the flower centers gain a touch of orange, the petals a touch of purple, lifting them out of the background; a subtle soft-focus effect goes over the whole frame, while lightening and darkening keep emphasizing the image's center (at 6:59-7:16 in the video).","b":false},{"t":"img","f":"v12","w":768,"h":480},{"t":"p","x":"接着用白平衡的方式把背景再拉出一些冷色，同样用蒙版把整个花朵和远处的光线重新刷回去，再用色彩平衡把花与环境稍稍统一起来（视频 7:18-7:33 处）。","xe":"Next, the background is cooled a little more via white balance, with a mask painting the flowers and the distant light right back; a Color Balance layer then gently re-unifies the flowers with their environment (at 7:18-7:33 in the video).","b":false},{"t":"p","x":"最后的收尾在 Camera Raw 里完成：用径向滤镜、渐变滤镜等局部工具做整体统一，再稍稍加一点青蓝色——因为花是紫色的，而环境此时偏蓝，蓝紫缺乏对比，把背景调成青色后，紫花就被鲜明地衬托出来（视频 7:36-8:01 处）。随后用加深减淡强化主体的立体感，局部拉高花的清晰度和纹理（用蒙版限制在花上），再把背景稍稍压暗一点，成片就此完成（视频 8:03-8:21 处）。","xe":"The finish happens in Camera Raw: radial and gradient filters unify the frame, then a touch of cyan-blue is added — the flowers are purple, the environment had drifted blue, and blue against purple lacks contrast; once the background turns cyan, the purple flowers pop against it (at 7:36-8:01 in the video). Dodge and burn then strengthen the subject's dimensionality, a masked sharpening raises the flowers' clarity and texture, the background is dimmed a touch, and the final image is done (at 8:03-8:21 in the video).","b":false},{"t":"img","f":"v13","w":768,"h":480},{"t":"quote","x":"1. 极限场景靠前期堆叠拿下：12 张景深堆叠解决 20 厘米近距的景深，一张欠曝包围片保住云层；2. 低角度俯拍给前景冲击力，代价是远景畸变，后期变形矫正要多次少量、盯住横平竖直；3. 氛围感的核心公式：整体压暗拉冷＋蒙版刷回高光，再以丁达尔光强化明暗层次；4. 调色的意义不只是好看——明暗冷暖要为「山体的威严、花朵的生命力」这两个表达服务。","xe":"1. Extreme scenes are won in the field: 12 focus-stacked frames conquer depth at 20 centimeters, and one underexposed bracket rescues the clouds. 2. A low, tilted camera gives the foreground its punch at the cost of distant distortion — correct the warp in many small steps, watching horizontal and vertical lines. 3. The atmosphere formula: darken and cool the whole frame, mask the highlights back in, then let Tyndall rays carve the layers of light. 4. Color grading is not about prettiness alone — every tonal and warm-cool choice should serve the statement: the majesty of the peaks, the vitality of the flowers.","b":false},{"t":"h","x":"高清视频：","xe":"HD video:"},{"t":"p","x":"https://www.bilibili.com/video/BV1m1421o7Uf/","b":false,"xe":"https://www.bilibili.com/video/BV1m1421o7Uf/"},{"t":"p","x":"扫描上面二维码或点击文末“阅读原文”","b":false,"xe":"Scan the QR code above or click \"Read More\" at the end of the article"}],"titleEn":"How Do Western Landscape Photographers Grade Colors? Post-Processing Atmosphere Rendering Turns Out to Be This Useful!"}