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.. كيفية التقاط وتطوير الصور الملونة
COMBINING COLOURS
One of the most exciting parts of colour photography lies in the relationships between different hues . Most of the examples that we have seen in the last few pages have relied essentially on a single colour to carry the image . However , the sensation created by a colour changes when it is in the presence of other colours . Some blend together , others create tension , but all interact in some way . Knowing something of the theory of colour combinations will allow you to take extra control .
The basis of colour relationships is the colour wheel , used in one form or another by artists for centuries . This is closely , although not exactly , related to the spectrum of colours that can be seen in a rainbow , or whenever else white light is broken up into its parts . Imagine the spectrum that you can see being bent round so that it forms a circle of colour , like the one shown here . Going clockwise from red - one of the primary colours - the colour wheel progresses to the other primaries , green and blue , by way of the secondary colours in between . The way that this colour wheel is arranged is such that if all the colours are combined , they make white in the centre , and if any two opposite colours are combined , they too produce white . Opposite colours on the wheel are called complementaries .
The position of colours on this wheel give a clue as to how they will interact in an image . The simplest and most harmonious combinations are those of col- ours that are adjacent on the wheel . Just as they blend from one to another on the wheel ( and , indeed , in a rainbow spectrum ) , so they seem to be a part of a close sequence in a photograph . This works in most examples , but there are exceptions to this . Very strong colours just a little distance apart on the wheel can clash - for example , a bright red against a bright magenta . In reality , the colour wheel should be a continuous progression of colours , and it is only for convenience that it is usually shown divided into segments . A sharp jump across a segment , without the muting effect of atmosphere or dilution , can cause a clash .
The Colour Wheel
This is really a simplified spectrum bent into a circle . As well as a guide to colour relationships as seen by the human eye , the colour wheel helps to explain what actually happens during colour reproduction . Any three equally spaced colours ( blue , green and red for example ) combined equally give white . In the subtractive process white light is selectively blocked by dyes or pigments : thus a yellow dye will block blue light , which is opposite yellow on the wheel .
BELOW This combination of magenta and red has been aided by the muted atmosphere of the shot .
LEFT Although it is undeniable that strong primary colours are attention - grabbers , muted secondary colours used in the right combination can be equally effective .
RIGHT A strong primary yellow can be pleasantly set off against a light brown .
BOTTOM Attractive images can be formed from the variations in shade of a single secondary colour , in this case green ( a mixture of yellow and cyan ) .
.. كيفية التقاط وتطوير الصور الملونة
COMBINING COLOURS
One of the most exciting parts of colour photography lies in the relationships between different hues . Most of the examples that we have seen in the last few pages have relied essentially on a single colour to carry the image . However , the sensation created by a colour changes when it is in the presence of other colours . Some blend together , others create tension , but all interact in some way . Knowing something of the theory of colour combinations will allow you to take extra control .
The basis of colour relationships is the colour wheel , used in one form or another by artists for centuries . This is closely , although not exactly , related to the spectrum of colours that can be seen in a rainbow , or whenever else white light is broken up into its parts . Imagine the spectrum that you can see being bent round so that it forms a circle of colour , like the one shown here . Going clockwise from red - one of the primary colours - the colour wheel progresses to the other primaries , green and blue , by way of the secondary colours in between . The way that this colour wheel is arranged is such that if all the colours are combined , they make white in the centre , and if any two opposite colours are combined , they too produce white . Opposite colours on the wheel are called complementaries .
The position of colours on this wheel give a clue as to how they will interact in an image . The simplest and most harmonious combinations are those of col- ours that are adjacent on the wheel . Just as they blend from one to another on the wheel ( and , indeed , in a rainbow spectrum ) , so they seem to be a part of a close sequence in a photograph . This works in most examples , but there are exceptions to this . Very strong colours just a little distance apart on the wheel can clash - for example , a bright red against a bright magenta . In reality , the colour wheel should be a continuous progression of colours , and it is only for convenience that it is usually shown divided into segments . A sharp jump across a segment , without the muting effect of atmosphere or dilution , can cause a clash .
The Colour Wheel
This is really a simplified spectrum bent into a circle . As well as a guide to colour relationships as seen by the human eye , the colour wheel helps to explain what actually happens during colour reproduction . Any three equally spaced colours ( blue , green and red for example ) combined equally give white . In the subtractive process white light is selectively blocked by dyes or pigments : thus a yellow dye will block blue light , which is opposite yellow on the wheel .
BELOW This combination of magenta and red has been aided by the muted atmosphere of the shot .
LEFT Although it is undeniable that strong primary colours are attention - grabbers , muted secondary colours used in the right combination can be equally effective .
RIGHT A strong primary yellow can be pleasantly set off against a light brown .
BOTTOM Attractive images can be formed from the variations in shade of a single secondary colour , in this case green ( a mixture of yellow and cyan ) .
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