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الخطوة 2 : بناء الصورة الملونة / مصطلحات الألوان .. التصوير الملون .. المرشد خطوة بخطوة للتصوير الفوتوغرافي
STEP 2 : COLOR PICTURE BUILDING / Color terms
To understand color terms and relationships , we must begin by looking at the component colors of white light , divided into a spectrum by a glass prism . Deep blue appears at one end of this spectrum , red at the other . If we join the two ends of the spectrum it forms a continuous circle with each color graduat- ing into the next . ( If you were to spin a color circle fast on a record player turntable the colors would merge into white . ) Each color on the color circle is pure , or " satu- rated " , which means that it contains no white , black or gray .
Primaries and complementaries
The color circle can be divided into three broad zones red , green , and blue . These are called the primary colors of light ; by mixing them in different quantities you can form any other color . Between the primaries are three other zones these are the com- plementary colors , magenta ( bluish red ) , yellow , and cyan ( greenish blue ) . A primary and its complementary are opposite to each other on the color circle . For example , magenta is positioned opposite to green , and is its complementary color . Each com- plementary is a mixture of two primary colors ; and when two complementaries are mixed you get the primary color which is common to them both . For example , cyan ( blue and green ) and magenta ( blue and red ) give blue . This relationship between the complementaries and primaries is called " subtractive " , and forms the basis for color processing and printing , as explained on pages 159-61 .
White light spectrum
If you direct a beam of white light through a steep sided prism at an angle , the light is separated into a narrow spectrum of colors , as shown left . This is because the component , colored wavelengths of white light are refracted ( bent ) at different angles and separated by the glass prism .
Primary and complementary colors
Color photography is concerned with colored light , which can be divided into three primaries - red . green , and blue . The three colors on the circle opposite these primaries -magenta , yellow , and cyan - are known as complementaries . A primary and its complementary placed together , such as red and cyan , left , produce the most strik- ing color contrast in a composition .
Tones of brightness
The more a color is diluted the less saturated , or pure , it appears . The green , above , decreases in satu- ration from left to right , as white or gray is added , and in tones of bright- ness from top to bottom . Near the top , green is mostly replaced by white , giving a washed - out appear- ance to the color . Toward the bottom an increase in neutral gray subdues color brilliance .
" Warm " colors
The " warm " half of the color circle -red , magenta , and yellow - con- tains colors associated with fire , and summer . The subject colors in the picture , left , contribute to its warm appearance and their simi- larity provides harmony .
Color and saturation
Tones of each color on the color circle can be made by adding white ( increasing the light ) , or adding black ( reducing the light ) . This makes the colors less saturated . Adding white to a pure color creates pastel tones ; adding black or gray creates rich , dark tones . Consequently , lighting and reflectiveness of the subject surface are important influences on color saturation .
" Cold " colors
The blue , cyan , and green half of the color circle contains colors mostly regarded as " cold " , due to association with ice , and winter conditions . By limiting the color in the picture , left , to blue , a bleak atmosphere has been created .
STEP 2 : COLOR PICTURE BUILDING / Color terms
To understand color terms and relationships , we must begin by looking at the component colors of white light , divided into a spectrum by a glass prism . Deep blue appears at one end of this spectrum , red at the other . If we join the two ends of the spectrum it forms a continuous circle with each color graduat- ing into the next . ( If you were to spin a color circle fast on a record player turntable the colors would merge into white . ) Each color on the color circle is pure , or " satu- rated " , which means that it contains no white , black or gray .
Primaries and complementaries
The color circle can be divided into three broad zones red , green , and blue . These are called the primary colors of light ; by mixing them in different quantities you can form any other color . Between the primaries are three other zones these are the com- plementary colors , magenta ( bluish red ) , yellow , and cyan ( greenish blue ) . A primary and its complementary are opposite to each other on the color circle . For example , magenta is positioned opposite to green , and is its complementary color . Each com- plementary is a mixture of two primary colors ; and when two complementaries are mixed you get the primary color which is common to them both . For example , cyan ( blue and green ) and magenta ( blue and red ) give blue . This relationship between the complementaries and primaries is called " subtractive " , and forms the basis for color processing and printing , as explained on pages 159-61 .
White light spectrum
If you direct a beam of white light through a steep sided prism at an angle , the light is separated into a narrow spectrum of colors , as shown left . This is because the component , colored wavelengths of white light are refracted ( bent ) at different angles and separated by the glass prism .
Primary and complementary colors
Color photography is concerned with colored light , which can be divided into three primaries - red . green , and blue . The three colors on the circle opposite these primaries -magenta , yellow , and cyan - are known as complementaries . A primary and its complementary placed together , such as red and cyan , left , produce the most strik- ing color contrast in a composition .
Tones of brightness
The more a color is diluted the less saturated , or pure , it appears . The green , above , decreases in satu- ration from left to right , as white or gray is added , and in tones of bright- ness from top to bottom . Near the top , green is mostly replaced by white , giving a washed - out appear- ance to the color . Toward the bottom an increase in neutral gray subdues color brilliance .
" Warm " colors
The " warm " half of the color circle -red , magenta , and yellow - con- tains colors associated with fire , and summer . The subject colors in the picture , left , contribute to its warm appearance and their simi- larity provides harmony .
Color and saturation
Tones of each color on the color circle can be made by adding white ( increasing the light ) , or adding black ( reducing the light ) . This makes the colors less saturated . Adding white to a pure color creates pastel tones ; adding black or gray creates rich , dark tones . Consequently , lighting and reflectiveness of the subject surface are important influences on color saturation .
" Cold " colors
The blue , cyan , and green half of the color circle contains colors mostly regarded as " cold " , due to association with ice , and winter conditions . By limiting the color in the picture , left , to blue , a bleak atmosphere has been created .
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