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Manipulating subject colors
You can create new and striking images by manipulating subject colors during expo- sure , either using filters , or by over- or under- exposure ( see p.145 ) , or by using inapprop- riate film for the lighting . You may do this to " warm - up " or " cool down " a color scheme , or to create a particular interpretation .
Extremely pale filters give a slight overall tint , most noticeable in delicate colors and highlight areas . Subjects of normal contrast are often spoiled by using a strong filter . However , backlit or similar high contrast images can give you interesting results with strong filters , particularly if you also under- or overexpose them . The result is often the filter color plus either black or white , as shown below .
Color negative film allows selective filter- ing during printing , so color changes can be made in the darkroom , see page 170. If you use slide film , color manipulation will mostly have to be done in the camera , usually by adding lens filters . If you have your color negatives commercially processed , your manipulations may be " corrected " as errors . So you should include instructions when the film is sent off to maintain filtering and exposure as for normal negatives .
Using film in the wrong lighting
Another way of deliberately distorting image colors is to use the wrong light source . The effects on color balance of mis- matching lighting and film were shown on page 146. It is worthwhile experimenting with the color casts created under different lighting to get the effects you want .
Graduated filters
Sometimes the colors in a scene can be given added interest and variety by using graduated filters , such as the one shown right . These filters have one color that diffuses into clear glass . The seascape above was taken first without a filter , left , and is almost mono- chromatic . The same scene , above right , using two graduated filters blue and brown has added color . especially in the highlights .
A similar effect can be achieved by simply holding pieces of gelatin part - way across the lens .
Red filters
The high contrast scene , above , was photographed on daylight film through a strong red filter , and underexposed to restrict the main colors to red and black . The sun itself is just brilliant enough to overexpose and so bleach through the red cast created by the filter .
Blue filters
The picture right , was taken against the light on daylight film through a dark blue filter . Most of the brightly lit center of the picture was overexposed , resulting in little or no color . The darkest blues appear in what were originally dark mid - tones and shadows .
Mis - matching film and light source
Occasionally the color cast created by using color film in the wrong lighting can be used to enhance your interpretation of a subject .
The picture below was taken on daylight film in fluorescent lighting . Fluorescent light varies so much that it is often difficult to filter accurately for it . The pale green cast that resulted was not exactly predicted but it contributes to the impression of the congestion and discomfort experienced by the crowded rush - hour travelers .
The red cast and dark , generally low key tones in the picture , right , convey the warmth and intimacy of candlelight . The warm cast was created by using tungsten film with- out a filter . A long exposure was given to the scene to compensate for the poor lighting .
Infra - red film
Infra - red Ektachrome film was originally designed for air surveil- lance photography , but can be used ordinarily to give bizarre color distortions . It has three emulsions . sensitive to green , red , and infra- red respectively . This means that surfaces which radiate invisible . infra - red light such as sunlit vege- tation , reproduce as red . Red objects photograph yellow . Faces appear wax - like , but blue repro- duces normally although more contrasty than on regular film .
Infra - red Ektachrome is designed to be exposed through a deep yellow filter for a maximum range of colors . But other filters can be used . For example , a strong green filter gives intense red foliage , near right . If you give the film color negative processing instead of nor- mal Ektachrome slide film proces- sing ( see page 164 ) your results appear as shown far right . Mag- enta leaves revert to their comple- mentary ( green ) but blacks and whites are negative in tone .
Manipulating subject colors
You can create new and striking images by manipulating subject colors during expo- sure , either using filters , or by over- or under- exposure ( see p.145 ) , or by using inapprop- riate film for the lighting . You may do this to " warm - up " or " cool down " a color scheme , or to create a particular interpretation .
Extremely pale filters give a slight overall tint , most noticeable in delicate colors and highlight areas . Subjects of normal contrast are often spoiled by using a strong filter . However , backlit or similar high contrast images can give you interesting results with strong filters , particularly if you also under- or overexpose them . The result is often the filter color plus either black or white , as shown below .
Color negative film allows selective filter- ing during printing , so color changes can be made in the darkroom , see page 170. If you use slide film , color manipulation will mostly have to be done in the camera , usually by adding lens filters . If you have your color negatives commercially processed , your manipulations may be " corrected " as errors . So you should include instructions when the film is sent off to maintain filtering and exposure as for normal negatives .
Using film in the wrong lighting
Another way of deliberately distorting image colors is to use the wrong light source . The effects on color balance of mis- matching lighting and film were shown on page 146. It is worthwhile experimenting with the color casts created under different lighting to get the effects you want .
Graduated filters
Sometimes the colors in a scene can be given added interest and variety by using graduated filters , such as the one shown right . These filters have one color that diffuses into clear glass . The seascape above was taken first without a filter , left , and is almost mono- chromatic . The same scene , above right , using two graduated filters blue and brown has added color . especially in the highlights .
A similar effect can be achieved by simply holding pieces of gelatin part - way across the lens .
Red filters
The high contrast scene , above , was photographed on daylight film through a strong red filter , and underexposed to restrict the main colors to red and black . The sun itself is just brilliant enough to overexpose and so bleach through the red cast created by the filter .
Blue filters
The picture right , was taken against the light on daylight film through a dark blue filter . Most of the brightly lit center of the picture was overexposed , resulting in little or no color . The darkest blues appear in what were originally dark mid - tones and shadows .
Mis - matching film and light source
Occasionally the color cast created by using color film in the wrong lighting can be used to enhance your interpretation of a subject .
The picture below was taken on daylight film in fluorescent lighting . Fluorescent light varies so much that it is often difficult to filter accurately for it . The pale green cast that resulted was not exactly predicted but it contributes to the impression of the congestion and discomfort experienced by the crowded rush - hour travelers .
The red cast and dark , generally low key tones in the picture , right , convey the warmth and intimacy of candlelight . The warm cast was created by using tungsten film with- out a filter . A long exposure was given to the scene to compensate for the poor lighting .
Infra - red film
Infra - red Ektachrome film was originally designed for air surveil- lance photography , but can be used ordinarily to give bizarre color distortions . It has three emulsions . sensitive to green , red , and infra- red respectively . This means that surfaces which radiate invisible . infra - red light such as sunlit vege- tation , reproduce as red . Red objects photograph yellow . Faces appear wax - like , but blue repro- duces normally although more contrasty than on regular film .
Infra - red Ektachrome is designed to be exposed through a deep yellow filter for a maximum range of colors . But other filters can be used . For example , a strong green filter gives intense red foliage , near right . If you give the film color negative processing instead of nor- mal Ektachrome slide film proces- sing ( see page 164 ) your results appear as shown far right . Mag- enta leaves revert to their comple- mentary ( green ) but blacks and whites are negative in tone .
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