How to create three photos with different Japanese styles by photography and post-production?

Generally speaking, the style of Japanese photos is quiet, mostly still life and figures, supplemented by large aperture, plus the use of reasonable light and the treatment of blank space, giving people a sense of tranquility and serenity.

I. Classification of Japanese Photography

First of all, we divide Japanese photography into the following categories:

1. backlight level

The * * * similarity of this kind of photos is that either side backlight or positive backlight is used, and the overall color is light, with white space and large aperture.

2. Film category

Features are black corner, high contrast and large aperture.

3. Landscape category

This kind of photos is dominated by scenery, with elegant overall tone, low saturation and warm color, which gets rid of the limitation of large aperture.

4. Black and white category

In fact, Japanese photography wins by color, and it is difficult for black and white photography to reflect its characteristics, but someone has included this. I really haven't summed up the specific characteristics.

5. Still life

This category actually overlaps with the first category, because some still lives are also represented by backlight, which is the first category. I'm talking about still life that is not shot against the light. Note that things are a broad concept, which includes people. It is characterized by clean picture, low saturation, elegance and large aperture.

The above five categories are just my own classification, not necessarily reasonable, for reference only.

In my impression, Japanese style is inextricably linked with overexposure, low saturation, color cast, backlight and large aperture. Some people admire the tranquility and artistic conception of Japanese style, while others criticize Japanese style as cataract photography. Personally, I think this style still has unique advantages in expressing personal feelings, but watching too much will really lead to aesthetic fatigue.

Second, the specific late methods

1. Method 1

Let's talk about the specific methods first, and the first one first. In my impression, the first kind of works that rely on light to express emotions is the traditional Japanese style in my impression. Look at the picture first:

Handling principle:

1) to improve the brightness.

2) Reduce saturation and increase natural saturation.

3) Using gradient to draw light is a difficult point, which is not easy to grasp and needs more practice.

4) Select a color to create a color offset or enhance the ambient color.

5) Use the highlight shadow option and make some minor adjustments.

Every picture should be analyzed in detail, and there is no one-size-fits-all method. This is the general processing method.

Those who like this technique can look at the stills of those years. This is a terrible technology. I don't know if you will feel a little dizzy when you see this Japanese style continuously. I hope you will not be allergic to Japanese after reading this article.

2. Method 2

The most important thing to look at the processing method of a photo is to grasp the characteristics of the photo.

Histogram information

Take this photo as an example. Look at its histogram. Pixels are mainly concentrated in highlights. Draw the curve and see the effect. As you can see, the clouds in the sky in this picture are basically brightened to invisible places.

Looking at other pictures, we can see that this kind of picture improves the brightness, or has the feeling of overexposure.

Basic principles:

1) to create the feeling of overexposure.

2) Reduce saturation and increase natural saturation.

3) Image-Adjustment-Optional color, which produces color cast effect on the main color in the picture. For example, if the picture is grass, choose green; if it is rape, choose yellow.

4) Color balance: add blue or warm colors in the middle tones and highlights.

5) Poke the layer, deepen the blue filter and adjust the density as needed (this step can be ignored as needed).

6) Create a new layer and fill it with colors R: 230, G: 233 and B: 222, and adjust the opacity as needed.

The last step is very important. Look at the contrast, and suddenly there is that hazy feeling.

Look at this Japanese style again. How to simulate this style?

The previous methods are almost the same, and the key is the last step, because this step has a great influence on the basic tone of the whole picture. The color I used this time is R 235 G222 B205. The key is how to determine the hue. At this time, you should pay attention to the style of the original picture, and then use the straw tool to choose the color that best reflects its tone in the original picture, generally choosing its main color or the color of the sky.

In a word, there is no fixed tone in the processing of such pictures, which can be warm or cold. Mainly combine the big environment and the mood you want to express to choose the color tone. But * * * should also be visible, that is, low saturation, overexposure and color cast. If you add a little Japanese, the so-called Japanese style may be stronger.

3. Method 3

Let's talk about the final treatment first, or let's put the picture first.

I really don't want to repeat the principle, but let's say it again, which is similar to the last one.

Handling principle:

1) exposure first, that is, increase the brightness.

2) Reduce saturation and increase natural saturation. As for why the natural saturation is increased, it is to prevent the color of the picture from being as lifeless as ashes, and at the same time, it will not make the color too bright and destroy the quiet feeling.

3) Create a new layer, pull the gradient and adjust the opacity, and adjust the parameter settings of the gradient as needed. However, it should be noted that the gradient must be pulled along the direction of light. If there is no obvious light direction in the picture, create a new layer and adjust the opacity after filling. If you don't follow the light, the overall feeling will be stiff.

4) Stamp the layer, then use the picture channel mixer to select the blue channel and adjust the blue to the right as needed.

5) Finally, the general principle is the same, but the specific operation is different. Optional color, color balance, contrast, etc. Yes, all roads lead to Rome.

Try a little more and you'll get the color you want.

Let's talk about color cast first. The following three pictures show the effect of adding blue 100 to shadows, midtones and highlights in color balance. It can be seen that the shadow has the least influence and the alto has the greatest influence.

Color cast debugging

There is a simple reason. Generally, most pixels of a correctly exposed photo are concentrated in the middle tone. When we do color cast, don't distort the original color too much, as long as it can make people realize the color cast. For the above picture, I adjust the picture according to the following parameters, and the effect is as shown in the figure:

Parameter information

Debugging effect diagram