攝影用光：快速提升照片水平的150個(gè)關(guān)鍵技法

第 1 章 曝光與用光基礎(chǔ)知識(shí)
[ 簡(jiǎn)介 1]
如何考慮曝光與用光 ······················ 10
[ 簡(jiǎn)介2]
曝光與用光學(xué)習(xí)路線 ······················ 11
[ 步驟 1]
學(xué)會(huì)控制曝光量
了解什么是曝光 ················································· 13
沒有正確的曝光，只有合適的曝光 ··················· 14
控制曝光的三個(gè)要素 ········································· 15
快門速度對(duì)曝光及畫面效果的影響 ··················· 15
高速快門抓拍瞬間動(dòng)作 ······································ 16
低速快門記錄車燈痕跡 ······································ 16
光圈對(duì)曝光及畫面效果的影響 ·························· 17
大光圈得到小景深畫面 ······································ 18
小光圈得到清晰的風(fēng)景照 ·································· 18
感光度對(duì)曝光及畫面效果的影響 ······················· 19
高感光度拍攝弱光美景 ······································ 20
低感光度畫面細(xì)膩 ············································· 20
靈活運(yùn)用光圈、快門速度和感光度拍攝不同效果····························· 21
使用AUTO模式快速設(shè)置曝光參數(shù) ···················· 22
程序模式（P）靈活組合曝光參數(shù) ····················· 22
光圈優(yōu)先模式（Av）表現(xiàn)不同的景深效果 ········ 23
用光圈優(yōu)先模式突出主體 ·································· 24
快門優(yōu)先模式（Tv）表現(xiàn)不同的動(dòng)態(tài)效果 ········ 25
凝固瞬間動(dòng)態(tài)效果時(shí)使用快門優(yōu)先模式 ············ 25
手動(dòng)模式靈活掌控曝光 ······································ 26
理解曝光補(bǔ)償 ······································· 26
特殊的情況下利用曝光補(bǔ)償調(diào)整畫面 ··············· 27
拍攝對(duì)象顏色較深時(shí)減少曝光補(bǔ)償 ··················· 28
拍攝對(duì)象顏色較淺時(shí)增加曝光補(bǔ)償 ··················· 28
使用曝光鎖鎖定被攝物的曝光 ·························· 29
復(fù)雜光線條件下可使用包圍曝光模式 ··············· 30
液晶屏回放照片檢查曝光情況 ·························· 31
通過直方圖判斷曝光情況 ·································· 31
曝光不足時(shí)的直方圖 ········································· 32
曝光過度時(shí)的直方圖·········································· 33
拍攝煙花時(shí)的直方圖·········································· 34
畫面反差過大的直方圖······································ 35
畫面反差較小的直方圖······································ 35
根據(jù)直方圖糾正曝光·········································· 36
分析RGB直方圖················································· 37
[ 步驟 2]
認(rèn)識(shí)不同光線的特點(diǎn)
明暗過渡均勻的柔光·········································· 38
柔光的畫面層次細(xì)膩·········································· 39
柔光下的影調(diào)更均勻·········································· 39
層次分明的硬光················································· 40
硬光突出質(zhì)感······································· 41
硬光加強(qiáng)明暗對(duì)比············································· 41
順光場(chǎng)景清晰明亮············································· 42
順光顏色真實(shí)·········································· 43
前側(cè)光立體感很強(qiáng)············································· 44
側(cè)光的畫面明暗對(duì)比明顯·································· 44
側(cè)光適合表現(xiàn)質(zhì)感············································· 45
側(cè)逆光表現(xiàn)物體輪廓·········································· 46
側(cè)逆光使畫面明暗層次更豐富··························· 46
逆光制造畫面空間感·········································· 47
逆光表現(xiàn)毛發(fā)的邊緣輪廓·································· 48
頂光突出物體立體感·········································· 49
腳光制造畫面氣氛············································· 49
黎明前的高色溫光線·········································· 50
拍攝照片的黃金時(shí)段········································· 50
9點(diǎn)之前的光線比較柔和··································· 51
中午的光線很硬················································· 52
溫暖的午后·········································· 53
夕陽(yáng)的霞光漫天················································· 53
晴天硬朗的直射光線·········································· 54
烈日下的取景技巧············································· 54
陰天的柔和光線················································· 55
突出雨天特色的畫面效果·································· 55
使用閃光燈需要準(zhǔn)備的器材······························· 56
閃光同步時(shí)間········································ 57
反射光柔和自然················································· 58
機(jī)位直接閃光法減少投影·································· 59
通過距離控制閃光燈強(qiáng)弱·································· 60
調(diào)節(jié)閃光補(bǔ)償控制閃光燈強(qiáng)弱··························· 60
混合光的畫面效果············································· 61
多個(gè)光源時(shí)要注意分清主次······························· 62
根據(jù)主光進(jìn)行曝光············································· 63
根據(jù)主光色溫設(shè)置白平衡·································· 63
閃光燈與日光的混合·········································· 64
[ 步驟 3]
理解畫面的影調(diào)影調(diào)的意義···································· 65
粗獷的影調(diào)增加畫面的力量感··························· 66
均勻的影調(diào)畫面層次細(xì)膩·································· 66
明亮、清新的高調(diào)············································· 67
高調(diào)表現(xiàn)柔美感覺············································· 68
增加曝光形成干凈的高調(diào)畫面··························· 69
平淡真實(shí)的中間調(diào)畫面······································ 70
雄渾有力的中間調(diào)影像······································ 70
神秘、含蓄的低調(diào)照片······································ 71
利用側(cè)逆光、逆光拍出低調(diào)影像······················· 71
低調(diào)不是曝光不足············································· 72
低調(diào)照片使用亮部法測(cè)光·································· 72
控制光照面積使影調(diào)更厚重······························· 73
第 2 章 曝光與用光技巧實(shí)戰(zhàn)——人像
1 大光圈突出畫面中的人物····················· 75
2 小光圈表現(xiàn)人物的環(huán)境 ························ 76
3 高速快門凝固運(yùn)動(dòng)中的人物················· 77
4 對(duì)準(zhǔn)人的臉部測(cè)光································ 78
5 淺色衣服時(shí)增加曝光補(bǔ)償····················· 79
6 深色衣服時(shí)減少曝光補(bǔ)償····················· 80
7 利用曝光過度減少不利因素················· 81
8 利用曝光不足減少不利因素················· 81
9 低調(diào)光影表現(xiàn)男性沉穩(wěn)一面················· 82
10 高調(diào)光影表現(xiàn)女性柔美一面················· 82
11 利用陰天拍攝影調(diào)細(xì)膩的人像 ············· 83
12 利用高色溫光線表現(xiàn)人像的寧?kù)o美································ 84
13 利用低色溫光線表現(xiàn)溫馨感 ················· 85
14 前側(cè)光使臉型更立體 ···························· 85
15 利用側(cè)光突顯人物個(gè)性 ························ 86
16 腳光減少眼袋、笑紋 ···························· 87
17 散射光表現(xiàn)女性細(xì)膩的皮膚 ················· 88
18 小光比的天氣適合表現(xiàn)少女 ················· 88
19 利用頂光表現(xiàn)頭發(fā)質(zhì)感 ························ 89
20 在烈日下利用反光板為面部補(bǔ)光·········· 89
21 用硬光表現(xiàn)男性的粗獷感 ····················· 90
22 柔光表現(xiàn)兒童的天真爛漫 ····················· 91
23 閃光燈可使少女臉部更白凈 ················· 92
24 利用閃光燈縮小畫面反差 ····················· 93
25 利用閃光燈在暗光中突出人物 ············· 93
26 水邊拍攝時(shí)避免水面強(qiáng)烈反光 ············· 94
27 靈活使用反光板改變光源色 ················· 94
28 樹林中拍攝時(shí)使用透光板過濾光線 ···································· 95
29 投影增加畫面形式感 ···························· 95
30 光暈營(yíng)造浪漫氣氛 ································ 96
31 黃昏營(yíng)造溫馨氣氛的人像 ····················· 96
32 逆光的剪影效果人像 ···························· 97
33 窗邊夢(mèng)幻效果的人像 ···························· 98
34 眼神光使眼睛炯炯有神 ························ 99
35 輪廓光突出人物的輪廓線條 ··············· 100
36 背景光制造畫面氣氛，表現(xiàn)人物性格 ···························· 101
37 利用深色背景光突出人物 ··················· 102
第 3 章 曝光與用光技巧實(shí)戰(zhàn)——風(fēng)光
38 利用點(diǎn)測(cè)光拍攝日出日落 ··················· 104
39 小光圈捕捉水面晶瑩的反光 ··············· 105
40 小光圈表現(xiàn)燈光的星芒效果 ··············· 106
41 大光圈表現(xiàn)樹葉的半透明感 ··············· 107
42 慢速快門捕捉風(fēng)的痕跡 ······················ 107
43 拍攝月亮并不需要大光圈 ··················· 108
44 利用曝光過度去掉畫面的不利因素 ·································· 109
45 曝光不足拍出有“光”的感覺 ··········· 110
46 減少曝光突出樹林的茂密 ··················· 110
47 慢快門記錄煙花的綻放 ······················ 111
48 借助白平衡使日出日落更絢麗 ··········· 112
49 高調(diào)影像表現(xiàn)雪景的純凈 ··················· 112
50 利用冷色調(diào)表現(xiàn)清晨靜謐的感覺········ 113
51 捕捉“耶穌光” ··································· 114
52 側(cè)光突出山巒的立體感 ······················ 115
53 逆光呈現(xiàn)山巒的剪影效果 ··················· 115
54 順光表現(xiàn)原野的色彩 ·························· 116
55 逆光表現(xiàn)冰凌的晶瑩 ·························· 116
56 側(cè)光表現(xiàn)云霧繚繞的迷人晨景 ··········· 117
57 利用不同時(shí)間的陽(yáng)光為云彩染色········ 118
58 借助側(cè)光表現(xiàn)霧景的層次感 ··············· 119
59 逆光表現(xiàn)波光粼粼的水面 ··················· 120
60 利用夕陽(yáng)余暉渲染日落海面 ·············· 120
61 硬光拍攝風(fēng)景層次分明 ······················ 121
62 偏振鏡使天空更藍(lán) ······························ 122
63 利用中灰漸變鏡縮小天空與地面的亮度差距 ···························· 123
64 利用星光鏡表現(xiàn)夜晚的燦爛燈光 ·································· 124
65 借助倒影表現(xiàn)湖泊 ······························ 125
66 借助投影增強(qiáng)畫面空間感 ··················· 125
67 拍夜景別等天黑 ·································· 126
68 利用眩光讓風(fēng)景生動(dòng)起來 ··················· 127
69 豐富的影調(diào)使山水畫面充滿變化········ 128
70 利用CPL偏振鏡拍出清澈見底的湖水 ···························· 129
第 4 章 曝光與用光技巧實(shí)戰(zhàn)——建筑
71 利用小光圈拍攝清晰的建筑及環(huán)境 ···························· 131
72 利用慢速快門虛化建筑周圍的人群 ·································· 131
73 利用三腳架使用較低的ISO拍攝夜景 ································· 132
74 拍攝室內(nèi)建筑不要懼怕提高ISO ········· 132
75 利用慢速快門拉曝建筑燈光 ··············· 133
76 硬光下的建筑層次分明 ······················ 133
77 散射光可突出建筑的滄桑感 ··············· 134
78 前側(cè)光下的建筑物很有立體感 ··········· 134
79 借助室內(nèi)燈光拍攝建筑內(nèi)部 ··············· 135
80 利用反光表現(xiàn)建筑的現(xiàn)代感 ··············· 135
81 暮色中的夜景建筑 ······························ 136
82 利用明暗反差強(qiáng)化照片層次感 ··········· 136
83 順光下的建筑顏色很柔和 ··················· 137
84 慢速快門表現(xiàn)建筑燈光 ······················ 137
85 黃昏的光線襯托建筑物的氣勢(shì) ··········· 138
86 注意發(fā)現(xiàn)有特色的建筑燈光 ··············· 138
87 利用焦外成像營(yíng)造帶有光斑的夢(mèng)幻效果 ·································· 139
88 利用云霧營(yíng)造的柔光表現(xiàn)建筑的意境美································· 139
89 有特色的建筑剪影 ······························ 140
第 5 章 曝光與用光技巧實(shí)戰(zhàn)——?jiǎng)游?br />90 小光圈拍攝動(dòng)物表現(xiàn)環(huán)境 ··················· 142
91 大光圈突出體積小的動(dòng)物 ··················· 143
92 大光圈突出動(dòng)物的表情 ······················ 143
93 高速快門拍攝飛行的動(dòng)物 ·················· 144
94 利用倒影表現(xiàn)動(dòng)物 ······························ 144
95 拍攝雪地的動(dòng)物增加曝光補(bǔ)償 ··········· 145
96 增加曝光補(bǔ)償突出天鵝的潔白 ··········· 145
97 利用點(diǎn)光拍出鳥類的藝術(shù)美感 ··········· 146
98 夕陽(yáng)下逆光效果的馬匹 ······················ 146
99 利用逆光表現(xiàn)昆蟲透明的翅膀 ··········· 147
100 利用側(cè)光突出昆蟲的立體感 ··············· 147
101 強(qiáng)逆光塑造寵物剪影并在身體邊緣形成亮邊 ···························· 148
102 逆光下拍攝毛毛蟲的輪廓光 ··············· 149
103 逆光拍攝動(dòng)物的半透明感 ··················· 150
104 側(cè)光表現(xiàn)貓咪的五官 ·························· 150
105 硬光表現(xiàn)瓢蟲光滑的外殼 ··················· 151
106 冷調(diào)拍攝動(dòng)物藝術(shù)感十足 ··················· 152
107 利用暖調(diào)營(yíng)造溫馨畫面 ······················ 153
108 低調(diào)畫面的飛鳥形式感很強(qiáng) ··············· 153
109 高調(diào)拍攝白色的貓咪 ·························· 154
110 中間調(diào)拍攝家中的狗很溫馨 ··············· 154
111 大光比拍攝剪影的水鳥 ······················ 155
112 拍攝小動(dòng)物盡量不要開啟閃光燈········ 156
113 利用眼神光表現(xiàn)動(dòng)物的可愛 ··············· 156
第 6 章 曝光與用光技巧實(shí)戰(zhàn)——植物
114 利用大光圈突出花朵的細(xì)節(jié) ··············· 158
115 小光圈拍攝花海 ·································· 158
116 用小光圈捕捉樹隙中的光線 ··············· 159
117 增加曝光表現(xiàn)樹木和天空 ··················· 160
118 減少曝光使花卉色彩濃郁 ··················· 160
119 讓黃色花卉色彩更亮麗 ······················ 161
120 拍攝白色花卉增加曝光補(bǔ)償還原真實(shí)感································ 161
121 順光下的花卉色彩飽滿 ······················ 162
122 側(cè)光突出花卉的立體感 ······················ 162
123 逆光時(shí)選擇暗背景突出干草的半透明感 ··································· 163
124 細(xì)膩的影調(diào)突出花卉的細(xì)節(jié) ··············· 164
125 逆光表現(xiàn)樹木形態(tài)美 ·························· 164
126 散射光拍攝花卉色彩真實(shí) ··················· 165
127 直射強(qiáng)光讓樹葉更加鮮艷 ··················· 166
128 用側(cè)光突出樹木的立體感 ··················· 167
129 林間的頂光可以塑造大面積的透明樹葉 ································ 168
130 以逆光在地面上的陰影突顯樹木的
高大和畫面的空間感 ·························· 169
131 利用高強(qiáng)度的逆光為樹上色 ··············· 170
132 利用暗背景突出花卉 ·························· 170
133 利用偏振鏡使花卉色彩更加純凈········ 171
134 使樹葉呈現(xiàn)半透明效果的光線 ··········· 171
135 利用眩光得到有藝術(shù)效果的畫面········ 172
136 利用側(cè)光拍攝蘑菇很有立體感 ··········· 173
137 明暗相間時(shí)可增強(qiáng)畫面的空間感········ 174
138 利用點(diǎn)測(cè)光拍攝暗背景低調(diào)花卉········ 175
139 利用星光鏡將植物上的水珠拍出特殊的效果 ································· 175
140 利用低調(diào)畫面表現(xiàn)綠植上晶瑩剔透的水珠 ··································· 176
第 7 章 曝光與用光技巧實(shí)戰(zhàn)——靜物
141 使用大光圈讓陪體虛化 ······················ 178
142 使用小光圈讓美食清晰 ······················ 178
143 白色背景要增加曝光補(bǔ)償 ··················· 179
144 利用倒影表現(xiàn)被攝體 ·························· 179
145 利用側(cè)光表現(xiàn)物體質(zhì)感 ······················ 180
146 逆光表現(xiàn)玻璃的透明感 ······················ 181
147 逆光拍出“熱氣騰騰”的美食 ··········· 182
148 光影也能做畫框 ·································· 183
149 利用柔和的光線拍攝小清新風(fēng)格靜物 ································· 183
150 營(yíng)造明暗反差突出主體 ······················ 184