{"slug":"yaominglai-full-workflow","title":"从头到尾——风光摄影师揭秘前后期全过程！","author":"Thomas看看世界","date":"2017-03-16","wechat":"https://mp.weixin.qq.com/s?__biz=MzI4NDA5MzE5NQ==&mid=2247485248&idx=1&sn=32349da41c54f1d68ed1c76f02d39cdc&chksm=eb81f924dcf67032ed2264f367bdfdc8043ecad2a9efc0a5402fdd14d29e9356dcdf560d2618&scene=21#wechat_redirect","blocks":[{"t":"h","x":"大家好，我是极影AdventureX的摄影师—姚明来（MillerYao）","xe":"Hello everyone, I'm Yao Minglai (Miller Yao), photographer of AdventureX."},{"t":"img","f":"img-01","w":1000,"h":668},{"t":"p","x":"经常有人问我如何拍出一张好片？今天，我将揭秘我从前期准备，中期拍摄到后期制作的一整套的工作流程，希望大家能从我的文章里找到答案。","b":true,"xe":"People often ask me how to make a great photo. Today I'll reveal my complete workflow — from pre-trip preparation, through shooting, to post-production — hoping you'll find your answer in my article."},{"t":"img","f":"img-02","w":640,"h":12},{"t":"img","f":"img-03","w":1280,"h":905},{"t":"h","x":"1.信息的积累和储备","xe":"1. Accumulating and storing information"},{"t":"p","x":"选择一个正确的拍摄地，决定了你这一系列照片的下限，而你拍摄的水平，后期才决定了你照片质量的上限。信息的积累和储备是我所有拍摄的基础，所以我的workflow，要先从这里说起。","b":false,"xe":"Choosing the right location determines the floor of a photo series, while your shooting skill and post-processing determine its ceiling. Information accumulation is the foundation of all my shoots, so my workflow starts here."},{"t":"p","x":"信息的收集是个漫长的过程，我电脑里一直有个叫做“拍摄地”的文件夹，在这个文件夹下有很多以地域命名的子文件夹，每当我在网络上或生活中看到一些有潜力的拍摄地的图片，我都会截图或者拍照保存下来.比如某张图片属于四川，我就会把那张图归放到以“四川”命名的地域子文件夹里。这样日积月累，你就形成了一个专属于你自己的图片库。","b":false,"xe":"Collecting information is a long process. I keep a folder called 'Locations' on my computer with subfolders named by region. Whenever I see an image of a promising location online or in life, I screenshot or photograph it and file it — if an image belongs to Sichuan, it goes into the 'Sichuan' subfolder. Over time, you build an image library that is uniquely yours."},{"t":"img","f":"img-04","w":1579,"h":1422},{"t":"p","x":"另外，我在收藏图片的同时也会注意保存图片拍摄信息中或者图片简介里的拍摄时间和季节，这样有助于你在完全没有踩点前做出推测和预判。","b":false,"xe":"Also, while saving images I note the shooting time and season from the metadata or caption, which helps you make predictions before ever scouting in person."},{"t":"h","x":"2.出行时间的选择和判断","xe":"2. Choosing and judging the timing of a trip"},{"t":"p","x":"我经常看到网络上有这样的留言：为什么我也去了那个地方，但就是拍不出你那样美的照片？这个问题的答案，我相信很可能是你在错误的时间去了错误的地方。","b":true,"xe":"I often see comments online: 'I went to the same place, so why can't I shoot photos as beautiful as yours?' The answer, I believe, is likely that you went to the wrong place at the wrong time."},{"t":"p","x":"风光拍摄一定要合天时，应地利。通过步骤1对信息的积累去确定出发的最佳季节，然后再决定出发的具体日期。如何在一个正确的日子出发？看气象网站！","b":false,"xe":"Landscape shooting must suit the weather and the terrain. Use the information accumulated in step 1 to determine the best season, then decide the exact departure date. How to pick the right day? Watch weather websites!"},{"t":"p","x":"众所周知，好的云霞往往决定了一幅风光作品的成败，最好的云霞莫过于风暴来临前后极具层次的低空云。所谓的风暴，泛指强烈天气系统过境时出现的天气过程，比如我们常常在天气预报里听到的“冷空气”“台风”“热带风暴”都属于风暴的范畴。","b":false,"xe":"As we all know, good clouds often decide the success of a landscape work. The best clouds are the highly layered low clouds before and after a storm. 'Storm' here broadly means weather processes during strong weather systems — the 'cold fronts', 'typhoons' and 'tropical storms' we hear in forecasts all count."},{"t":"img","f":"img-05","w":1280,"h":853},{"t":"p","x":"在风暴的中心区域往往天气比较糟糕，漫天乌云，没有光线，这是风光拍摄最糟糕的条件，而风暴的边缘区域却是最好的气象所在地方。往往这些区域有很大机率出现戏剧化的光线，壮丽的火烧云和彩虹。所以，追逐风暴拍摄是最高效的一种出片方式。","b":false,"xe":"Near a storm's center the weather is usually terrible — overcast skies, no light — the worst conditions for landscape photography. But the storm's edge is the best place to be: dramatic light, magnificent fiery clouds and rainbows appear there with high probability. So chasing storms is the most efficient way to get great shots."},{"t":"h","x":"下面两图都是通过正确的气象云图预测拍摄到的壮美天象：","xe":"The two photos below were captured by correctly reading weather charts:"},{"t":"img","f":"img-06","w":1000,"h":1110},{"t":"p","x":"这是我在新疆天山于一场区域性的夏季风暴前夕所拍摄","b":false,"xe":"Shot by me in the Tianshan mountains of Xinjiang, on the eve of a regional summer storm"},{"t":"img","f":"img-07","w":750,"h":513},{"t":"p","x":"AdventureX成员潘玮浩（Weihao Pan）在美国俄勒冈州的craterlake拍摄于一场冬季风暴后","b":false,"xe":"AdventureX member Pan Weihao, shot at Crater Lake, Oregon, USA, after a winter storm"},{"t":"p","x":"这里一定会有人问：如何追逐风暴？看不懂气象云图怎么办？我介绍一个最简单有效的入门级方法：当你决定出发时，就应该时刻关注天气预报，当天气预报出现类似如图的由好天气转变成持续几天降水的坏天气，就表明了风暴的到来.","b":false,"xe":"Someone will surely ask: how do you chase storms? What if you can't read weather charts? Here's the simplest effective entry-level method: once you decide to go, keep watching the forecast. When the forecast shifts from fine weather to several days of precipitation as in the chart, a storm is coming."},{"t":"img","f":"img-08","w":1280,"h":328},{"t":"p","x":"降水的天数代表了风暴中心区域在该区域停留的天数（5,6两天），降水前的那几天多云天（3,4两天）以及降水后的那几天多云天（7,8两天）就是风暴刚刚进入该区域以及撤离该区域时风暴边缘在区域停留的时间。这一头一尾的几天（3,4,7,8四天）就很可能是出片最佳的日子了.","b":false,"xe":"The rainy days represent how long the storm's center lingers (days 5 and 6); the cloudy days before the rain (days 3 and 4) and after it (days 7 and 8) are when the storm's edge enters and leaves the region. Those first and last days (3, 4, 7, 8) are very likely the best days for shooting."},{"t":"img","f":"img-09","w":1280,"h":430},{"t":"p","x":"如果那个区域在这个季节很少有风暴，那么你只能尽量避开大晴天挑选一个多云天去拍摄，虽然这种天气天空往往是层次感缺乏的高空云，但也比没有任何云霞的大晴天要好的多。","b":false,"xe":"If that region rarely sees storms in this season, you can only avoid clear days and pick a cloudy one. Such skies often have layered-deficient high clouds, but that's still far better than a cloudless sunny day."},{"t":"img","f":"img-10","w":1280,"h":854},{"t":"p","x":"AdventureX成员周游（joyous）拍摄于大连，利用长曝光的技术手段去弥补高空云稀疏缺乏层次的缺点.","b":false,"xe":"AdventureX member Zhou You (joyous), shot in Dalian — using long exposure to compensate for sparse, layered-deficient high clouds."},{"t":"h","x":"3.拍摄时的习惯和思路","xe":"3. Habits and thinking while shooting"},{"t":"p","x":"关于拍摄，有无数的教材和书籍，这里，我只想说说我个人在拍摄时的一些习惯和思路。","b":false,"xe":"Countless textbooks and books exist about shooting; here I'll only share my personal habits and thinking in the field."},{"t":"p","x":"众所周知，日出和日落是风光摄影最佳的拍摄时机,所以提前踩点是至关重要的。我在制定出行计划时一定会留出白天足够的时间用于探索和踩点，而把最重要的清晨和黄昏留给拍摄创作。","b":false,"xe":"Sunrise and sunset are the best times for landscape photography, so scouting in advance is crucial. When planning a trip I always reserve enough daytime for exploring and scouting, saving the precious dawn and dusk for actual creation."},{"t":"p","x":"在白天踩点时，我会带着相机在各个点位拍摄样片，然后根据现场的环境和光线的方向在脑海中模拟日出或日落的画面，接着比较各个点位的样片，选出一个我认为的最佳机位和几个次要机位。几个次要的机位可以充当最佳机位的备胎以及拍摄完最佳机位后空余时间再去完成的拍摄点。通常日落或者日出前一小时我已经就位，这时我就开始思考如何拍摄才能让后期有最大的可能性。","b":false,"xe":"While scouting in daylight, I take test shots with my camera at various spots, then mentally simulate the sunrise or sunset scene based on the environment and light direction. I compare the test shots, pick one best position and several secondary ones — the secondary spots serve as backups and fillers after the best spot is done. Usually I'm in place an hour before sunset or sunrise, and I start thinking about how to shoot for maximum post-processing potential."},{"t":"p","x":"所以，对于我来说，一张照片的后期制作绝对不是从电脑里的ps软件开始的，而是从拍摄前就在脑海酝酿","b":true,"xe":"So for me, a photo's post-production absolutely does not start in Photoshop on the computer — it is conceived in my mind before shooting."},{"t":"p","x":"越是复杂的后期，在前期拍摄时越要考虑周全，就拿下面这张图来说：","b":false,"xe":"The more complex the post work, the more thorough the planning during capture. Take this image for example:"},{"t":"img","f":"img-11","w":1000,"h":1409},{"t":"p","x":"这张图的后期我用了一系列的拼合技巧，比如我会在焦点合成时做两到三组景深包围以确保万无一失，并且在相机屏幕放大检查最近的花瓣是否也清晰锐利。我会在焦段合成时尽量寻找容易拼接的过渡区域，确保后期拼合的简单和顺畅，我会在曝光合成时放大确认需要合成部分的图像是否曝光准确。。。","b":false,"xe":"For this image I used a series of blending techniques: two to three focus-bracketing sets during focus stacking to be safe, zooming in on the camera screen to check that even the nearest petals are tack sharp; finding easy transition zones for focal-length blending to keep the stitching simple; verifying exposure accuracy for the parts to be exposure-blended..."},{"t":"p","x":"这种由后期引导前期拍摄的方法就是我拍摄时一直用的“倒叙式思维”——先勾勒出最后成片的样子，再根据成片倒推出所需要的后期技巧，接着根据设想的后期思路来不断调整拍摄的构图","b":true,"xe":"This method of letting post guide the capture is what I always use — 'reverse-order thinking': first sketch the final image in your mind, then deduce the required post techniques, and keep adjusting the composition according to the intended post workflow."},{"t":"h","x":"4.数据管理","xe":"4. Data management"},{"t":"p","x":"拍摄结束回程后我会立刻把照片从存储卡里导出备份在电脑里，通常我会在移动硬盘里再备份一份，并且以拍摄日期+拍摄地的方式命名文件夹，然后将该文件夹拖入lightroom软件.","b":false,"xe":"After shooting, I immediately export the photos from the memory card to my computer, usually with another backup on a portable drive, naming folders by date + location, then drag the folder into Lightroom."},{"t":"p","x":"接下来就是照片的筛选。我会将我认为这次旅行中最好的照片打成5星，这一部分5星的照片将会是我最先精修并且上传在网络上的图片，然后将那些我认为稍逊一筹，但仍有价值的照片打成4星，将那些旅途拍摄的比较好的人文照片打成3星。","b":false,"xe":"Next comes culling. I rate the best photos of the trip 5 stars — these get refined first and uploaded online; slightly weaker but still valuable ones get 4 stars; good documentary shots from the trip get 3 stars."},{"t":"img","f":"img-12","w":1280,"h":1065},{"t":"p","x":"只需要点击那张照片，并且按键盘的数字键就可以对照片打星级（比如想打4星，就按键盘的4）","b":true,"xe":"Just click a photo and press a number key to rate it (press 4 for 4 stars, for example)."},{"t":"p","x":"接下来我会在过滤器中设置星级大于等于3，那么刚刚所有标星的照片就被软件自动筛选出来了。","b":false,"xe":"Then I set the filter to rating ≥ 3, and all the starred photos are automatically filtered out by the software."},{"t":"img","f":"img-13","w":436,"h":240},{"t":"p","x":"最后，将这次的所有筛选出来的照片导出为目录。","b":false,"xe":"Finally, export all the selected photos as a catalog."},{"t":"img","f":"img-14","w":927,"h":735},{"t":"p","x":"那么，这趟旅行你认为的所有有价值的照片就会全部被复制整合进一个单独的文件夹里，并且形成一个独立的lightroom目录。","b":false,"xe":"That way, every photo you consider valuable from the trip is copied into a single folder, forming an independent Lightroom catalog."},{"t":"p","x":"接下来，就是找个空闲的时候打开这个文件夹里的目录进行所有流程的最后一步——后期制作。","b":false,"xe":"Next, find some free time to open that catalog and begin the final step of the whole process — post-production."},{"t":"h","x":"5.后期流程","xe":"5. Post-processing workflow"},{"t":"p","x":"首先，我会在lightroom里做一些简单的处理，为照片的深度制作打下一个好的基础。当然，每张照片所做的调整一定是不同的，但通常下面的一些调整是每张照片我都会做的：","b":false,"xe":"First, I do basic processing in Lightroom to lay a good foundation for deeper work. Of course every photo needs different adjustments, but the following are ones I apply to almost every photo:"},{"t":"h","x":"1:调整曝光","xe":"1: Adjust exposure"},{"t":"p","x":"Raw文件的优势不仅仅在于16bit的色彩深度，更在于它超高的宽容度。通常，我会通过对曝光度，高光，阴影以及黑白色阶的组合调整来弥补前期拍摄相机曝光的缺陷，尽量让直方图如下图一样首尾没有溢出：","b":false,"xe":"The advantage of RAW is not just 16-bit color depth but its huge dynamic range. Usually, through combined adjustment of exposure, highlights, shadows and blacks/whites, I compensate for exposure flaws from capture, aiming for a histogram with no clipping at either end, as shown below:"},{"t":"img","f":"img-15","w":358,"h":628},{"t":"h","x":"2：提高蓝原色饱和度","xe":"2: Boost blue primary saturation"},{"t":"p","x":"在lightroom右边界面的最下方有个相机校准的版块，通常我会把最下面的蓝原色饱和度开到100%","b":false,"xe":"At the bottom of Lightroom's right panel is the Camera Calibration section — I usually push the blue primary saturation to 100%."},{"t":"img","f":"img-16","w":384,"h":473},{"t":"p","x":"你是不是觉得每次拍出来的raw文件原片在电脑屏幕看比显示屏里色彩暗淡许多？这一招就能提升原片所有色彩的饱和度而且不会出现色阶断裂。","b":true,"xe":"Ever feel your RAW files look much duller on the computer screen than on the camera display? This trick raises the saturation of all colors in the raw file without banding."},{"t":"h","x":"3：调整清晰度","xe":"3: Adjust clarity"},{"t":"p","x":"我会用lightroom的调整笔刷对照片的清晰度进行处理","b":false,"xe":"I use Lightroom's adjustment brush to work on the photo's clarity."},{"t":"img","f":"img-17","w":424,"h":410},{"t":"p","x":"一张好的照片，讲究的是意境和气氛，那就要做到虚实结合。通常我会对照片中需要柔化的地方降低清晰度，比如远方落日下的山峰；我会对照片中需要刻画的地方增加清晰度，比如前景岩石的纹理","b":false,"xe":"A good photo values mood and atmosphere, which means combining sharpness and softness. I usually reduce clarity where softening is needed — like distant peaks under a setting sun — and increase clarity where detail deserves emphasis, like the texture of foreground rocks."},{"t":"h","x":"4.删除色差","xe":"4. Remove chromatic aberration"},{"t":"p","x":"勾选镜头校正板块的删除色差一栏","b":false,"xe":"Check the 'Remove Chromatic Aberration' box in the Lens Corrections panel."},{"t":"img","f":"img-18","w":469,"h":553},{"t":"h","x":"这个操作可以删除镜头的色差，让色彩更加真实","xe":"This removes lens chromatic aberration and makes colors more faithful."},{"t":"h","x":"5.降噪","xe":"5. Noise reduction"},{"t":"p","x":"通常长曝光以及高iso或者欠曝的暗部会有比较多的噪点，我会调整细节板块的减少杂色选项中的各个参数来降噪提升画质","b":false,"xe":"Long exposures, high ISO, or underexposed shadows usually carry more noise. I adjust the Noise Reduction parameters in the Detail panel to improve image quality."},{"t":"img","f":"img-19","w":459,"h":757},{"t":"p","x":"一般将颜色条拖动到最右边，明亮度基于图片噪点的程度而定，通常噪点很多数值就大一些。","b":false,"xe":"Generally drag the Color slider all the way right; set Luminance based on the amount of noise — more noise, higher value."},{"t":"h","x":"6.锐化","xe":"6. Sharpening"},{"t":"p","x":"这一步用来压榨出raw文件的局部细节，为后续在ps里的细节纹理的刻画打好基础","b":false,"xe":"This step squeezes out the RAW file's local detail, laying the groundwork for texture work later in Photoshop."},{"t":"img","f":"img-20","w":296,"h":328},{"t":"h","x":"通常半径拉到最小（0.5），细节可以拉到最大（100），数量根据图片情况而定","xe":"Usually set Radius to minimum (0.5), Detail to maximum (100), and Amount according to the image."},{"t":"img","f":"img-21","w":1194,"h":614},{"t":"p","x":"接着按住alt键的同时滑动蒙版选项条，此时图片变成如上图的灰度图。白色代表锐化完全作用的区域，黑色代表无锐化的区域。我会通过滑动选项条来控制锐化的阈值，避免锐化过度作用于无细节的区域。","b":false,"xe":"Then hold Alt while sliding the Masking slider — the image turns into the grayscale view shown above. White means fully sharpened areas, black means unsharpened. I slide to control the sharpening threshold, avoiding over-sharpening detail-free areas."},{"t":"p","x":"在lightroom里对图片完成基本的处理后，接着将图片导入photoshop中进行深度的创作","b":true,"xe":"After basic processing in Lightroom, I import the image into Photoshop for deeper creation."},{"t":"img","f":"img-22","w":1280,"h":668},{"t":"p","x":"右键图片，选择“在photoshop中作为智能对象打开”，这样，图片就被导入到ps中了。作为智能对象打开的好处是在lr里对原始文件的调整如果不满意，可以直接双击图层在弹出的cameraraw滤镜面板进行修改，而这里的改动依旧是无损的。","b":true,"xe":"Right-click the image and choose 'Open as Smart Object in Photoshop'. The benefit: if you're unhappy with the Lightroom adjustments later, double-click the layer to reopen the Camera Raw filter and modify — still non-destructive."},{"t":"p","x":"在讲我的photoshop处理流程前，我想先简单谈谈我对后期的理解：风光摄影不是纪实，而是艺术。一个好的后期并不仅仅是去还原真实，而是适度的去创造。而如何把握这个度就非常重要！","b":true,"xe":"Before explaining my Photoshop workflow, let me briefly share my understanding of post-processing: landscape photography is not documentary — it is art. Good post-processing is not merely restoring reality, but creating in moderation. How to gauge that degree is crucial!"},{"t":"img","f":"img-23","w":1000,"h":662},{"t":"p","x":"这是我刚刚进阶风光摄影没多久在云南元阳拍摄到的梯田日出，上图是我重新后期以后的版本。而下图则是我4年前后期的版本：","b":false,"xe":"This is a terraced-field sunrise I shot in Yuanyang, Yunnan, soon after I started landscape photography. Above is my newly reprocessed version; below is the version I edited 4 years ago:"},{"t":"img","f":"img-24","w":1000,"h":662},{"t":"p","x":"这个4年前的后期，简直是我的黑历史！我常常看到网络上类似的那些跟风效颦的过度后期，比如最近流行的大范围柔化的柔光效果，乌七八黑强拉对比度的暗黑风以及违背自然光感的拙劣合成。","b":false,"xe":"That 4-year-old edit is my dark history! I often see similar over-processed imitations online — the recently trendy heavy glow softening, the pitch-black forced-contrast dark style, and clumsy composites that defy natural light."},{"t":"h","x":"我认为的优秀后期，是基于自然，遵循光理的适度创作。","xe":"In my view, excellent post-processing is moderate creation based on nature and the logic of light."},{"t":"h","x":"下面我将结合这张照片，告诉大家我的photoshop后期流程:","xe":"Below, using this photo, I'll walk you through my Photoshop workflow:"},{"t":"p","x":"1.照片合成：通常我拍摄的照片会用到一系列合成的技术，所以从lightroom导入photoshop以后的第一步就是将照片拼合起来。（以这张图为例，我用到了曝光合成，取图一的地面以及图二的天空合成为一张高动态的图片）","b":false,"xe":"1. Photo blending: my shots usually involve a series of blending techniques, so the first step after importing from Lightroom to Photoshop is combining the frames. (For this image I used exposure blending — taking the ground from frame one and the sky from frame two to form a high-dynamic-range image.)"},{"t":"img","f":"img-25","w":1280,"h":1118},{"t":"p","x":"2.修饰美化：合成以后，一张作品最后成片的模样便初见端倪，在描绘和勾勒前的一步就是修饰和美化，通常我会用仿制图章去除画面中的杂物或者cmos的脏点，让画面更加干净。我也会用形变工具对画面中景物的比例做重新的调整。（这张图我用仿制图章去除了因冲光而产生的炫光光斑）","b":false,"xe":"2. Retouching: after blending, the final look begins to emerge. Before painting and shaping comes retouching — I usually use the clone stamp to remove distracting objects or sensor dust spots, making the frame cleaner. I also use warp tools to readjust the proportions of elements. (In this image I removed flare spots caused by shooting into the light with the clone stamp.)"},{"t":"p","x":"3.色彩调整：接下来就是调整画面中的色彩，为最后的成片定下一个色彩基调。方法有很多，通常我会用调整图层中的色彩平衡和可选颜色以及cameraraw滤镜并且结合蒙版和亮度蒙版进行上色。（这张图我在高光加入红橙，在阴影的山体加上蓝青，增强图片的反差和营造冷暖对比）","b":false,"xe":"3. Color adjustment: next, adjust the colors to set the tonal foundation for the final piece. There are many methods — I usually use Color Balance and Selective Color adjustment layers plus the Camera Raw filter, combined with masks and luminosity masks. (For this image I added red-orange to the highlights and blue-cyan to the shadowed mountains, enhancing contrast and creating a warm-cool opposition.)"},{"t":"img","f":"img-26","w":812,"h":538},{"t":"p","x":"4.dodge&burn（加深减淡）：这一步至关重要，同时也很耗费时间，它将决定你照片的影调，层次，过渡以及氛围。简单的来说就是用加深减淡工具或者笔刷并且配合不同的前景色对照片进行提亮和压暗。（这张照片我用dodge&burn刻画出了云海的层次同时加强了云层的立体感）","b":false,"xe":"4. Dodge & burn: this step is crucial and time-consuming — it determines the tonalities, layering, transitions and atmosphere. Simply put, use dodge/burn tools or brushes with different foreground colors to lighten and darken areas of the photo. (Here I used dodge & burn to carve out the layers of the cloud sea and strengthen its three-dimensionality.)"},{"t":"img","f":"img-27","w":1155,"h":769},{"t":"p","x":"5.光感和气氛的营造：这一步，是能让你照片得到升华的点睛之笔同时也非常考验你的后期功力和艺术审美。这里，我会用到很多技法。比如用colordodge加强光感，用lightbleeding创造光效,用luminosity mask去调整明暗加强氛围，用orton effect强化虚实对比。。。。。（这张图我用colordodge对太阳周围的冲光进行渲染，增强了逆光时梦幻的气氛）","b":false,"xe":"5. Building light and atmosphere: this is the finishing touch that elevates a photo — and it greatly tests your post skills and artistic taste. I use many techniques here: color dodge to strengthen the sense of light, light bleeding to create glow effects, luminosity masks to adjust brightness and enhance mood, the Orton effect to strengthen the sharp-soft contrast... (In this image I used color dodge to render the light burst around the sun, enhancing the dreamlike backlit atmosphere.)"},{"t":"img","f":"img-28","w":812,"h":538},{"t":"p","x":"6.修改和定稿：通常，照片的后期完成后我不会马上定稿以及上传到网络，我会放个几天甚至几星期，偶尔打开图片看看是否还需要修改。照片的后期制作就是艺术创作，创作需要灵感，而灵感的乍现需要时间。我经常会修改多次才最终定稿","b":false,"xe":"6. Revision and finalizing: after finishing post, I don't finalize and upload immediately. I let it sit for days or even weeks, occasionally reopening it to see whether changes are needed. Post-production is artistic creation; creation needs inspiration, and inspiration takes time. I often revise many times before finalizing."},{"t":"p","x":"7.保存和输出：当你完成了对一张图片的全部后期，最后的一步便是成片的保存和输出，首先我会合并所有图层以节约存储空间，然后将图片以psd的格式进行保存，接下来会另外导出一份jpg格式的图片，用于互联网的传播和发布，而TKaction是我的不二选择。它拥有极为智能的二次锐化缩图的算法和非常便捷的操作，在这个移动端的大屏时代，我会选择长边为1920px的尺寸输出：","b":false,"xe":"7. Saving and output: when you've finished all post work on an image, the last step is saving and output. First I merge all layers to save storage space and save as PSD; then I export a separate JPG for online publishing — and TKaction is my go-to choice. It has a remarkably smart resize-and-sharpen algorithm and very convenient operation. In this big-screen mobile era, I output at 1920px on the long edge:"},{"t":"img","f":"img-29","w":457,"h":271},{"t":"p","x":"然后点击“save for web”输出保存：","b":false,"xe":"Then click 'Save for Web' to export:"},{"t":"img","f":"img-30","w":1280,"h":982},{"t":"p","x":"将来如果你想供稿又或是参加比赛，便可以打开之前储存的psd文件，导出为符合要求的尺寸和合适色彩空间的图片。","b":false,"xe":"Later, if you want to submit to agencies or enter contests, open the saved PSD and export at the required size and color space."},{"t":"h","x":"以上，便是我从头到尾全套的工作流程！","xe":"The above is my complete workflow from start to finish!"},{"t":"p","x":"我是极影AdventureX摄影师—姚明来(图虫ID：miller姚明来）,我和我们的团队成员将定期为大家带来摄影教程分享户外攻略。","b":true,"xe":"I'm Yao Minglai, AdventureX photographer (Tuchong ID: miller姚明来). Our team and I will regularly bring you photography tutorials and outdoor guides."},{"t":"p","x":"极影AdventureX是由六位中国户外风光摄影师和一位职业高山探险家组成的团队。想了解更多深度的风光摄影技巧和户外攻略？那就扫码关注我们吧！","b":true,"xe":"AdventureX is a team of six Chinese outdoor landscape photographers and one professional high-altitude explorer. Want more in-depth landscape techniques and outdoor guides? Scan the code and follow us!"},{"t":"h","x":"极影AdventureX","xe":"AdventureX"},{"t":"p","x":"http://www.theadventurex.com","b":false,"xe":"http://www.theadventurex.com"},{"t":"h","x":"极限挑战","xe":"Extreme challenges"},{"t":"h","x":"极致影像","xe":"Ultimate imagery"},{"t":"h","x":"极客分享","xe":"Geek sharing"},{"t":"p","x":"欢迎关注@Thomas看看世界，每周学会一个摄影技能。","b":false,"xe":"Follow @Thomas Chu Photo — learn one photography skill every week."}],"titleEn":"Start to Finish: Landscape Photographer Yao Minglai Reveals His Full Workflow"}