Kimberley also relies on colour management for the best results. If there are shadows that need more work, I might spend half an hour editing one image, but if everything is right, it could only take a minute of processing to get the image I want. Keith has a final tip for printing that applies to both kinds of photography: test images. Your email address will not be published. Explanation: Light appears colorless or white. Sunlight is white light that is composed of all the colors of the spectrum.
A rainbow is proof. You can't see the colors of sunlight except when atmospheric conditions bend the light rays and create a rainbow.
You can also use a prism to demonstrate this. That's the symbolism of the color that some say isn't a color. Learn more about the purest symbolism of colors in this online course - Organic Color Symbolism - from Color Matters.
The question:. Are black and white colors when they exist as pigments or as molecular coloring agents? Black and white cats created by colored crayons. This is color generated by pigments. Black and white cats. The colors of the fur is the result of molecules. Black is a color. Chemists will confirm this! Explanation: Here's a simple way to show how black is made: Combine all three primary colors red yellow and blue using a liquid paint or you even food coloring.
You won't get a jet black, but the point will be clear. The history of black pigments includes charcoal, iron metals, and other chemicals as the source of black paints. Resource: History of Pigments. The grey area: Technically, pure white is the absence of color.
In other words, you can't mix colors to create white. Therefore, white is the absence of color in the strictest sense of the definition. However, when you examine the pigment chemistry of white, ground-up substances such as chalk and bone or chemicals such as titanium and zinc are used to create the many nuances of white in paint, chalk, crayons - and even products such as Noxema.
The question of whether to develop photos in color or black and white or even both is an interesting one. Any photographer who uses a digital camera can easily create two or more versions of the same photo. This is a big change from the days of film photography because you no longer have to commit to one or the other through your choice of film.
With film, the main choices were between color negative, color slide or black and white negative film. The act of committing to either color or black and white helped you concentrate on finding subjects and compositions that worked in that medium. With digital you can take the photo and decide afterwards.
But equally you can work in color and convert it afterwards. One advantage of this is that you can go back over old photos and select the ones that would work well in black and white.
In my ebook Mastering Composition I wrote about an interview I once read with American landscape photographer David Muench who works predominantly in color but describes his photos as black and white images with a layer of color on top. I interpret that as meaning that he composes using tonal contrast and texture exactly as he would if he were shooting in black and white, except that he chooses to work in color. I sometimes find myself getting caught in a battle between black and white and color, moving between the two, developing two versions of the same photo.
It goes both ways. Color in all its complexity is intimidating to some, so rather than fumble around with color calibration or nudge stubborn color casts out of their work, they remove color from the equation completely.
But color need not be intimidating. Even for photographers who choose not to utilize it, a basic understanding of how colors relate to one another will help them process what they see during shooting. The friendliest way to approach color is with a tool most people will already recognize: the color wheel.
This handy prop has all the familiar hues we know and love, organized to show the relationships between them.
For example, you can find the opposite of a color by looking directly across from it on the color wheel. These are called complementary colors the first example in the graphic above and they make one another stand out or compete with each other, depending on how you use them.
You can also find a truckload of other color schemes based on where hues sit in relation to one another. On certain versions of the color wheel, you can see shades which you get by adding black to a hue , tints which you get by adding white , or tones which you get by adding grey. Colors are filled with emotion and memory, both yours and that of your audience. This can be a powerful tool if your personal experiences are what you want to bring to your work.
From the technical side of things, color photography sometimes requires you to relinquish a certain amount of control.
Although you can take steps to keep your colors as consistent across devices as possible , online work is going to be viewed through the lens of a myriad of brands and calibrations. Even when printing, you may not always have control over how your images are reproduced, lit, and displayed. This is on top of the many personal biases you and your audience bring to the table. Adding interest to a scene without the fireworks of saturation can be quite the artistic challenge, and it can lay bare compositional weaknesses that might have gone unnoticed otherwise.
Despite the almost unlimited access to color that exists in photography today, there are still photographers who prefer their work without it.
0コメント