تويت
الاستفادة من اللون - ٢ -
المبادئ الأساسية للبورتريه ..
كتاب التصوير الفوتوغرافي
no longer only black , white or gray - they may be an infinite number of hues . In a black and white composition the areas of pure black and pure white are most striking , and consequently attract the eye first . In color work certain strong colors seem pre - eminent .
In fact , not all colors affect the human eye in exactly the same way . Whereas we tend to react to shapes and lines in black and white in a detached and rational way , colors affect us in a much more direct , even emotional or irrational way . These responses are difficult to tabulate they are based on personal prefer ences and traditional associations that are sometimes sub - conscious . For example , we associate green with joy and renewal , blue with peace and rest , and red with fire and danger .
Colors also differ in that they are markedly dissimilar in the amount of brightness that they emanate . If you place two identically - sized patches of yellow and blue next to each other , it will be obvious immediately that the yellow area is far more brilliant and luminous than the blue one . To achieve balance in a picture con taining these colors , you should therefore place a relatively small patch of yellow against a large expanse of blue . On a rough scale , yellow is the brightest color , followed in decreasing order by orange , red , green , blue , and violet .
Dominant color A A single , dominant color can convey an intense mood or atmosphere . Here , I used a mirror and shawl to create a picture entirely infused with red . This color seemed to suit the personality of the novelist Edna O'Brien . Hasselblad 500C , 80 mm , 1/30 sec at f8 , Agfachrome 50L .
Isolated color The whole workshop in this picture is covered with a layer of pale dust , so that the subject's red sweater forms the only splash of bright color . Often a very small area of vivid color used against a flat , even area of contrasting or muted , monochromatic color will create a strong visual impact . Pentax 6 × 7 , 55 mm , 1/30 sec at f16 , Ektachrome 200 .
Discord for effect A When I went to photograph Molly Parkin - a self confessed eccentric , and a writer of risqué novels - I noticed the green wall now included in the picture . I planned this discordant scheme on the spot . The bright , contrasting colors create a visually lively , even aggressive picture which reflects the subject's bold lifestyle . Hasselblad 500C , 80 mm , 1/60 at f8 , Agfachrome 50S .
المبادئ الأساسية للبورتريه ..
كتاب التصوير الفوتوغرافي
no longer only black , white or gray - they may be an infinite number of hues . In a black and white composition the areas of pure black and pure white are most striking , and consequently attract the eye first . In color work certain strong colors seem pre - eminent .
In fact , not all colors affect the human eye in exactly the same way . Whereas we tend to react to shapes and lines in black and white in a detached and rational way , colors affect us in a much more direct , even emotional or irrational way . These responses are difficult to tabulate they are based on personal prefer ences and traditional associations that are sometimes sub - conscious . For example , we associate green with joy and renewal , blue with peace and rest , and red with fire and danger .
Colors also differ in that they are markedly dissimilar in the amount of brightness that they emanate . If you place two identically - sized patches of yellow and blue next to each other , it will be obvious immediately that the yellow area is far more brilliant and luminous than the blue one . To achieve balance in a picture con taining these colors , you should therefore place a relatively small patch of yellow against a large expanse of blue . On a rough scale , yellow is the brightest color , followed in decreasing order by orange , red , green , blue , and violet .
Dominant color A A single , dominant color can convey an intense mood or atmosphere . Here , I used a mirror and shawl to create a picture entirely infused with red . This color seemed to suit the personality of the novelist Edna O'Brien . Hasselblad 500C , 80 mm , 1/30 sec at f8 , Agfachrome 50L .
Isolated color The whole workshop in this picture is covered with a layer of pale dust , so that the subject's red sweater forms the only splash of bright color . Often a very small area of vivid color used against a flat , even area of contrasting or muted , monochromatic color will create a strong visual impact . Pentax 6 × 7 , 55 mm , 1/30 sec at f16 , Ektachrome 200 .
Discord for effect A When I went to photograph Molly Parkin - a self confessed eccentric , and a writer of risqué novels - I noticed the green wall now included in the picture . I planned this discordant scheme on the spot . The bright , contrasting colors create a visually lively , even aggressive picture which reflects the subject's bold lifestyle . Hasselblad 500C , 80 mm , 1/60 at f8 , Agfachrome 50S .
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