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الألوان الخافتة .. التصوير الملون .. المرشد خطوة بخطوة للتصوير الفوتوغرافي
Muted color
In color photography , you will often find that " less is more " . In other words , that restricted color is usually more effective than a picture filled with a confusion of varied colors and tones . On pages 150–1 you saw how reducing color to one harmonious scheme strengthened the image . Another means of creating harmony and strength is to limit yourself to the subtle effect of muted , or desaturated , colors . Pictures using muted colors can convey many different moods . They may use a full range of desaturated tones , or be restricted only to pale tones ( high key ) or dark tones ( low key ) .
- Even in subjects which might at first appear almost colorless , muted colors can be found modern color films can record , and even slightly exaggerate , very pale colors . A composition with a predominance of white , gray or other neutral tones makes the pres- ence of muted color very significant . This is because neutral tones help to pick out every slight variation in tint .
Hazy lighting , rain or mist , can subdue the colors in your subject . When working indoors use diffused or bounced illumination to soften colors . The simplest method of desaturating color is to use a clear plastic diffuser on the lens . Diffusers can be bought in a variety of strengths but all have the effect of spreading the light .
Slight overexposure of color slide film tends to desaturate colors and generally give a high key effect . Overexposure dilutes color in the brightest parts of the picture most , and so only the dark areas record color strongly . Underexposure gives a more low key effect , with color recording most strongly in the highlights .
Diffused light and muted color
The fishing scene , above , appeared almost monochromatic at the time of shooting . But through the slight mist light from the dawn sky gives a pink flush to the water , adding greatly to the atmosphere .
Muted colors and black and white
Taking a largely black and white subject such as the sheep , above , with color film might seem point- less . Yet the shades of black and white work effectively to bring out the muted colors , that blend and change with distance .
Muting colors by exposure
Overexposure gives a bleached effect to color reproduction , such as shown left . Normal exposure would have given a grayer sky . which together with the strong colored washing would have de- tracted from the central figure . The muted , almost colorless effect is further enhanced by the low cam- era viewpoint which makes the most of the white overcast sky .
Exposure effects are difficult to predict accurately . You may have to bracket several exposures to obtain exactly the result you want .
High and low key
Overexposure gives pale tones and colors ( high key ) ; underexposure has a low key effect .
The portrait below , was taken against the light . Overexposure has reduced the saturation of the colors , giving it an added delicacy . Under- exposure of the man's face , right , has caught rich color in his features and created dense black elsewhere .
High key and overexposure
The muted colors in the picture of Tower Bridge , London , left , were created by overexposure and the misty conditions . There are no tones darker than mid - gray in the picture , yet the muted tints in the sky and reflections on the water have not been lost . The meter read- ing was taken for the foreground and the shutter set to give three times the indicated exposure .
Low key and underexposure
The picture of the boatman , below , owes much of its strength and atmosphere to underexposure . Here the meter reading was taken only from the evening sunlight as it reflected off the water and then half the correct exposure time was given . The rich color range extends from fully saturated to deep tone , and the main shape is simplified to a black silhouette .
Muted color
In color photography , you will often find that " less is more " . In other words , that restricted color is usually more effective than a picture filled with a confusion of varied colors and tones . On pages 150–1 you saw how reducing color to one harmonious scheme strengthened the image . Another means of creating harmony and strength is to limit yourself to the subtle effect of muted , or desaturated , colors . Pictures using muted colors can convey many different moods . They may use a full range of desaturated tones , or be restricted only to pale tones ( high key ) or dark tones ( low key ) .
- Even in subjects which might at first appear almost colorless , muted colors can be found modern color films can record , and even slightly exaggerate , very pale colors . A composition with a predominance of white , gray or other neutral tones makes the pres- ence of muted color very significant . This is because neutral tones help to pick out every slight variation in tint .
Hazy lighting , rain or mist , can subdue the colors in your subject . When working indoors use diffused or bounced illumination to soften colors . The simplest method of desaturating color is to use a clear plastic diffuser on the lens . Diffusers can be bought in a variety of strengths but all have the effect of spreading the light .
Slight overexposure of color slide film tends to desaturate colors and generally give a high key effect . Overexposure dilutes color in the brightest parts of the picture most , and so only the dark areas record color strongly . Underexposure gives a more low key effect , with color recording most strongly in the highlights .
Diffused light and muted color
The fishing scene , above , appeared almost monochromatic at the time of shooting . But through the slight mist light from the dawn sky gives a pink flush to the water , adding greatly to the atmosphere .
Muted colors and black and white
Taking a largely black and white subject such as the sheep , above , with color film might seem point- less . Yet the shades of black and white work effectively to bring out the muted colors , that blend and change with distance .
Muting colors by exposure
Overexposure gives a bleached effect to color reproduction , such as shown left . Normal exposure would have given a grayer sky . which together with the strong colored washing would have de- tracted from the central figure . The muted , almost colorless effect is further enhanced by the low cam- era viewpoint which makes the most of the white overcast sky .
Exposure effects are difficult to predict accurately . You may have to bracket several exposures to obtain exactly the result you want .
High and low key
Overexposure gives pale tones and colors ( high key ) ; underexposure has a low key effect .
The portrait below , was taken against the light . Overexposure has reduced the saturation of the colors , giving it an added delicacy . Under- exposure of the man's face , right , has caught rich color in his features and created dense black elsewhere .
High key and overexposure
The muted colors in the picture of Tower Bridge , London , left , were created by overexposure and the misty conditions . There are no tones darker than mid - gray in the picture , yet the muted tints in the sky and reflections on the water have not been lost . The meter read- ing was taken for the foreground and the shutter set to give three times the indicated exposure .
Low key and underexposure
The picture of the boatman , below , owes much of its strength and atmosphere to underexposure . Here the meter reading was taken only from the evening sunlight as it reflected off the water and then half the correct exposure time was given . The rich color range extends from fully saturated to deep tone , and the main shape is simplified to a black silhouette .
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