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WORKING WITH COLOUR
MAKING COLOUR THE SUBJECT
There is an important difference between true colour photography and merely photographing with colour film . You can treat colour as no more than another quality that enters the frame , whether it is wanted or not ; or you can consciously look for the relationships between colours , altering your viewpoint , composition , and even selecting what you photograph on the basis of colour values .
Many photographers who grew up working in black - and - white adapted to colour film by treating it only as a way of colouring the kind of picture that they had always been shooting . At the other extreme , some photographers are attracted by the sensuousness of colour , treating it as something almost tangible . Pete Turner is one of the best known modern photographers who uses this approach .
While both methods are perfectly acceptable , we will concentrate in this sec- tion of the book on developing colour awareness . More than most other visual qualities , colour needs a trained eye if it is to be caught and used in a photo- graph . The reason for this lies in our easy acceptance of colours . Almost too easily , we often respond to colours around us subjectively , without really think- ing about them . This is fine for enjoyment of colour , but in order to select it and compose with it in a camera's viewfinder , it is important to know how different colours interact , which hues are common and uncommon , and so on . As with music , concentrating on colour enables you to be much more sensitive to it and more discriminating .
ABOVE A good colour photographer must be continually aware of unusual or attractive combinations . Here , green , red and blue combine powerfully , making the eye dance from the bright lower part of the picture to the upper darkness .
ABOVE The contrast between powerful reds and blues has been further helped here by the photographer's use of a polarizing filter , which has deepened the blue of the sky even further . Using slower films in these circumstances will result in even richer colours .
LEFT A major problem encountered by photographers when beginning colour work is ignorance caused by over - familiarity ; because we encounter certain colours every day of our lives , we tend to ignore their photographic potential . Here , a simple , strong yellow has been used to completely dominate the scene , creating a very striking image .
WORKING WITH COLOUR
MAKING COLOUR THE SUBJECT
There is an important difference between true colour photography and merely photographing with colour film . You can treat colour as no more than another quality that enters the frame , whether it is wanted or not ; or you can consciously look for the relationships between colours , altering your viewpoint , composition , and even selecting what you photograph on the basis of colour values .
Many photographers who grew up working in black - and - white adapted to colour film by treating it only as a way of colouring the kind of picture that they had always been shooting . At the other extreme , some photographers are attracted by the sensuousness of colour , treating it as something almost tangible . Pete Turner is one of the best known modern photographers who uses this approach .
While both methods are perfectly acceptable , we will concentrate in this sec- tion of the book on developing colour awareness . More than most other visual qualities , colour needs a trained eye if it is to be caught and used in a photo- graph . The reason for this lies in our easy acceptance of colours . Almost too easily , we often respond to colours around us subjectively , without really think- ing about them . This is fine for enjoyment of colour , but in order to select it and compose with it in a camera's viewfinder , it is important to know how different colours interact , which hues are common and uncommon , and so on . As with music , concentrating on colour enables you to be much more sensitive to it and more discriminating .
ABOVE A good colour photographer must be continually aware of unusual or attractive combinations . Here , green , red and blue combine powerfully , making the eye dance from the bright lower part of the picture to the upper darkness .
ABOVE The contrast between powerful reds and blues has been further helped here by the photographer's use of a polarizing filter , which has deepened the blue of the sky even further . Using slower films in these circumstances will result in even richer colours .
LEFT A major problem encountered by photographers when beginning colour work is ignorance caused by over - familiarity ; because we encounter certain colours every day of our lives , we tend to ignore their photographic potential . Here , a simple , strong yellow has been used to completely dominate the scene , creating a very striking image .
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