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بيت تورنر : الجمع بين التصميم واللون .. تطوير نهجك الخاص .. المرشد خطوة بخطوة للتصوير الفوتوغرافي
PETE TURNER : Combining design and color
Pete Turner's photographs are immediately recognizable by their strong design qualities . and their extremely saturated colors . Like Ernst Haas he is particularly interested in exploring color in his photographs , but Turner works with a more limited range of color , is less naturalistic , and his photo- graphs often rely on bold , simple shapes to create a strong , graphic composition . He often uses flat areas of vivid color , devoid of the normal photographic qualities of tone and detail , creating an effect like a silk- screen print or poster .
Turner has extended his range of color photography in imaginative and technically novel ways by means of strong color filters and slide copying . He works almost exclu- sively with 35 mm Kodachrome film and carries about 100 filters with him on assign- ments . Sometimes he exposes his subject through a deep filter , using incorrect color balance film for the light source . More often . he generates his strikingly brilliant colors by introducing filters when using a slide copying attachment ( see p . 172 ) .
The disadvantage of copying color slides on to color slide film is that it increases image contrast . Turner capitalizes on this however , first by choosing the right subject . and second by carefully controlling ex- posure while copying . The tonal range is simplified so that shape and pattern are brought out .
Turner therefore uses his original subject only as raw material for the final print . At each stage of processing his image is fashioned into something increasingly re- mote from an objective recording . The result is often starker , abstract and . more synthetic in color .
Sand Dune , Egypt , 1964
By using an imaginative viewpoint , Turner emphasized the shape and texture of the burnt sienna sand dune , above . Copying through an orange filter increased the tone contrast , intensifying the unreality and saturation of the color .
Magenta Horse , 1969
The image , left , was created in three stages . First , the horse was slightly underexposed through a deep blue filter , producing a black horse on a blue field . Second , the slide was copied on to Ektachrome slide film which was given color negative processing . This reversed the colors , giving a white horse against a yellow background . Finally , this color negative was copied on to Kodachrome slide film through a magenta filter , making the horse appear magenta and the back- ground red .
Indian face
This was originally part of a slightly blurred color slide . Turner enlarged the face - exaggerat ing contrast and grain - using a slide copier with a deep blue filter to create the overall color cast .
Mannequin , 1971
The silhouette below was photo- graphed through a square " window " of black material . To obtain the repetition Turner took several exposures through different filters on to one frame of film , using a shift lens ( see p . 96 ) to slightly offset each image .
PETE TURNER : Combining design and color
Pete Turner's photographs are immediately recognizable by their strong design qualities . and their extremely saturated colors . Like Ernst Haas he is particularly interested in exploring color in his photographs , but Turner works with a more limited range of color , is less naturalistic , and his photo- graphs often rely on bold , simple shapes to create a strong , graphic composition . He often uses flat areas of vivid color , devoid of the normal photographic qualities of tone and detail , creating an effect like a silk- screen print or poster .
Turner has extended his range of color photography in imaginative and technically novel ways by means of strong color filters and slide copying . He works almost exclu- sively with 35 mm Kodachrome film and carries about 100 filters with him on assign- ments . Sometimes he exposes his subject through a deep filter , using incorrect color balance film for the light source . More often . he generates his strikingly brilliant colors by introducing filters when using a slide copying attachment ( see p . 172 ) .
The disadvantage of copying color slides on to color slide film is that it increases image contrast . Turner capitalizes on this however , first by choosing the right subject . and second by carefully controlling ex- posure while copying . The tonal range is simplified so that shape and pattern are brought out .
Turner therefore uses his original subject only as raw material for the final print . At each stage of processing his image is fashioned into something increasingly re- mote from an objective recording . The result is often starker , abstract and . more synthetic in color .
Sand Dune , Egypt , 1964
By using an imaginative viewpoint , Turner emphasized the shape and texture of the burnt sienna sand dune , above . Copying through an orange filter increased the tone contrast , intensifying the unreality and saturation of the color .
Magenta Horse , 1969
The image , left , was created in three stages . First , the horse was slightly underexposed through a deep blue filter , producing a black horse on a blue field . Second , the slide was copied on to Ektachrome slide film which was given color negative processing . This reversed the colors , giving a white horse against a yellow background . Finally , this color negative was copied on to Kodachrome slide film through a magenta filter , making the horse appear magenta and the back- ground red .
Indian face
This was originally part of a slightly blurred color slide . Turner enlarged the face - exaggerat ing contrast and grain - using a slide copier with a deep blue filter to create the overall color cast .
Mannequin , 1971
The silhouette below was photo- graphed through a square " window " of black material . To obtain the repetition Turner took several exposures through different filters on to one frame of film , using a shift lens ( see p . 96 ) to slightly offset each image .
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