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استخدام اللون في التكوين
USING COLOR IN COMPOSITION
In our discussion of composition and its various guiding principles , we have mentioned color from time to time primarily for the purpose of showing you that these principles apply to color with the same validity that they apply to black - and - white . However , there are certain aspects of color which make it an important adjunct in composing an effective picture . Color has a strong psychological effect on all of us , and it is possible to take advantage of such psychological effects to produce more effective compositions . Let us study some of the ways in which this can be done .
Contrast in a composition is an effective way of attracting attention , as you know by now . A bright object in a low key area stands out strongly and the white , in contrast to the darker area around it , seems even brighter . A black spot in a white area stands out just as strongly , and it is a matter of the individual composition as to which of the two methods is to be employed in any instance .
The same idea of contrasting brightness against darkness can be employed with equal effectiveness in color . In color , however , you have an additional tool - color contrast . You can contrast a red , for example , against a blue and achieve a very high degree of contrast even though the brightness of both colors may be exactly alike . A bright red spot in an overall blue composition will stand out very strongly and arouse a great deal of attention .
You can use this idea either in emphasizing the center of interest by choosing a contrasting color for it , or you can use this contrast in an accent spot to balance the center of interest . For example , it is possible to improve an
Figure 20 At first glance , this photo seems to have no compositional value whatsoever , yet there is no question that the hand grasping the pipe fitting in the lower fore ground has terrific impact . This is due to its uniqueness , its iso lation , and to the fact that it is the only part of the picture which is sharp and identifiable . Courtesy of International Harvester Co.
outdoor landscape with a strong and interesting composition by placing a small figure dressed in red so that the red will contrast against the overall green . This is a rather violent contrast , since red and green are opposites in the color sense ( this subject will be discussed in a later Assignment ) , and so it must be used with a great deal of discretion and good taste , but if so used the picture can be very effective .
If the red subject is to be used as a balancing area or an accent area , it should be quite small and relatively unimportant in itself . Even a tiny red area can liven up a large overall blue or green composition . On the other hand , if the red figure is to be the center of interest , it need not be kept small in size , but it is usually a good idea under such circumstances to use a more muted red to avoid a garish effect .
Another good use of color is to improve movement . In that respect , it can be used in much the same way you use aerial or linear perspective . As you have been told , objects in the foreground are generally darker and more contrasty than objects in the background , particularly if the background is at some distance . By using stronger and more vigorous colors in the foreground and softer , more gentle or more muted colors in the background , you can achieve the same feeling of movement away from the camera even though the actual scene has little real depth of its own . The movement created by the careful use of color in this way . often provides the necessary feeling of depth which a black - and - white photograph of the same scene would lack .
Color can provide movement in still another way . You may have heard of the expression " receding " color . What does it mean ? If you refer back to the Assignment covering lenses , you will find that a simple uncorrected lens does not focus all colors in the same plane . Red focuses farther back from the lens than does blue . In other words , if you wish to focus a red object , you have to move the lens slightly farther away from the film than you would for a blue . The lens of the eye is a simple uncorrected lens , so that it , too , focuses red farther back in the eyeball .
In order to produce a sharp focus , the lens of the eye automatically refocuses on the red by changing its focal length slightly . However , remember that the nearer the object is to a lens , the farther back the image is produced . In other words , the eye has to focus the red object in exactly the same way as it focuses an object which is somewhat closer . As far as the eye is concerned , red colors appear to be closer than they really are ; blue colors seem to be a shade farther away than they really are . Red objects seem to be approaching , and blues seem to be receding .
You can prove this to your own satisfaction by pasting a series of red paper strips on a blue card or a series of blue paper strips on a red card so that you end up with something made up equally of red and blue stripes . Look at this carefully . and you will see that the red seems to be standing out in front of the blue . Translating this phenomenon into terms of composition , if you want to impart movement to your composition get something red or orange in the foreground , and blue in the background . This will give you still another type of perspective in addition to the linear or aerial perspective available to the black - and - white worker .
One word of caution - pure reds and blues clash violently , so you have to use them in the same composition with a great deal of care and good taste . For example , referring back to our stripes of red and blue , if you look at something of that sort , the colors will seem to vibrate as you look at them because the eye will . attempt to focus both of them at the same time , and , finding it impossible , it may keep shifting from one to the other , thus producing the feeling of oscillation or vibration . The eye strain , of course , is dizzying .
The portrait photographer who deals in color can use it to good advantage in imparting subtle movement . A blue background , for example , will seem to bring . the subject forward . However , if you do use a blue background , make sure that it does not clash with the clothing or with the lipstick used by women subjects . It is generally safer to use a neutral background , but there may be times when blue , particularly if it is a fairly subdued blue , can be used to good effect . Much more common is the subtle use of color variations in clothing and accessories .
تأليف صورك
استخدام اللون في التكوين
USING COLOR IN COMPOSITION
In our discussion of composition and its various guiding principles , we have mentioned color from time to time primarily for the purpose of showing you that these principles apply to color with the same validity that they apply to black - and - white . However , there are certain aspects of color which make it an important adjunct in composing an effective picture . Color has a strong psychological effect on all of us , and it is possible to take advantage of such psychological effects to produce more effective compositions . Let us study some of the ways in which this can be done .
Contrast in a composition is an effective way of attracting attention , as you know by now . A bright object in a low key area stands out strongly and the white , in contrast to the darker area around it , seems even brighter . A black spot in a white area stands out just as strongly , and it is a matter of the individual composition as to which of the two methods is to be employed in any instance .
The same idea of contrasting brightness against darkness can be employed with equal effectiveness in color . In color , however , you have an additional tool - color contrast . You can contrast a red , for example , against a blue and achieve a very high degree of contrast even though the brightness of both colors may be exactly alike . A bright red spot in an overall blue composition will stand out very strongly and arouse a great deal of attention .
You can use this idea either in emphasizing the center of interest by choosing a contrasting color for it , or you can use this contrast in an accent spot to balance the center of interest . For example , it is possible to improve an
Figure 20 At first glance , this photo seems to have no compositional value whatsoever , yet there is no question that the hand grasping the pipe fitting in the lower fore ground has terrific impact . This is due to its uniqueness , its iso lation , and to the fact that it is the only part of the picture which is sharp and identifiable . Courtesy of International Harvester Co.
outdoor landscape with a strong and interesting composition by placing a small figure dressed in red so that the red will contrast against the overall green . This is a rather violent contrast , since red and green are opposites in the color sense ( this subject will be discussed in a later Assignment ) , and so it must be used with a great deal of discretion and good taste , but if so used the picture can be very effective .
If the red subject is to be used as a balancing area or an accent area , it should be quite small and relatively unimportant in itself . Even a tiny red area can liven up a large overall blue or green composition . On the other hand , if the red figure is to be the center of interest , it need not be kept small in size , but it is usually a good idea under such circumstances to use a more muted red to avoid a garish effect .
Another good use of color is to improve movement . In that respect , it can be used in much the same way you use aerial or linear perspective . As you have been told , objects in the foreground are generally darker and more contrasty than objects in the background , particularly if the background is at some distance . By using stronger and more vigorous colors in the foreground and softer , more gentle or more muted colors in the background , you can achieve the same feeling of movement away from the camera even though the actual scene has little real depth of its own . The movement created by the careful use of color in this way . often provides the necessary feeling of depth which a black - and - white photograph of the same scene would lack .
Color can provide movement in still another way . You may have heard of the expression " receding " color . What does it mean ? If you refer back to the Assignment covering lenses , you will find that a simple uncorrected lens does not focus all colors in the same plane . Red focuses farther back from the lens than does blue . In other words , if you wish to focus a red object , you have to move the lens slightly farther away from the film than you would for a blue . The lens of the eye is a simple uncorrected lens , so that it , too , focuses red farther back in the eyeball .
In order to produce a sharp focus , the lens of the eye automatically refocuses on the red by changing its focal length slightly . However , remember that the nearer the object is to a lens , the farther back the image is produced . In other words , the eye has to focus the red object in exactly the same way as it focuses an object which is somewhat closer . As far as the eye is concerned , red colors appear to be closer than they really are ; blue colors seem to be a shade farther away than they really are . Red objects seem to be approaching , and blues seem to be receding .
You can prove this to your own satisfaction by pasting a series of red paper strips on a blue card or a series of blue paper strips on a red card so that you end up with something made up equally of red and blue stripes . Look at this carefully . and you will see that the red seems to be standing out in front of the blue . Translating this phenomenon into terms of composition , if you want to impart movement to your composition get something red or orange in the foreground , and blue in the background . This will give you still another type of perspective in addition to the linear or aerial perspective available to the black - and - white worker .
One word of caution - pure reds and blues clash violently , so you have to use them in the same composition with a great deal of care and good taste . For example , referring back to our stripes of red and blue , if you look at something of that sort , the colors will seem to vibrate as you look at them because the eye will . attempt to focus both of them at the same time , and , finding it impossible , it may keep shifting from one to the other , thus producing the feeling of oscillation or vibration . The eye strain , of course , is dizzying .
The portrait photographer who deals in color can use it to good advantage in imparting subtle movement . A blue background , for example , will seem to bring . the subject forward . However , if you do use a blue background , make sure that it does not clash with the clothing or with the lipstick used by women subjects . It is generally safer to use a neutral background , but there may be times when blue , particularly if it is a fairly subdued blue , can be used to good effect . Much more common is the subtle use of color variations in clothing and accessories .
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