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.. كيفية التقاط وتطوير الصور الملونة
COMPLEMENTARY COLOURS
A quite different way of combining colours is across the colour wheel . Any two colours that are directly opposite each other on the wheel have a special rela- tionship to each other ; if a painter were to mix them , they would produce a neutral tone , or if two lights of these colours were played onto the same sur- face , the result would be white . On the face of it , this relationship may seem to be more important to a painter than to a photographer , but in fact it underlies the harmony of what are called complementary colours .
The simplest version of the colour wheel is one that contains just six hues three primaries and three secondaries . Opposite each primary is a secondary colour for instance , orange lies opposite blue and because they mix to a neutral grey or white , they balance each other . You can test this by taking two filters , such as red and green , and holding one over the other . Although this balance is a technical one , it is the reason why , to the eye , a combination of two such opposite colours in an image seems harmonious .
To get a completely balanced effect using complementary colours , one more thing needs to be considered - the relative brightness of each . Just a glance at the wheel shows that yellow is the brightest of the colours , and violet the darkest . So , to create an overall harmony in a picture that has these two com- plementaries , there needs to be considerably more of the violet than of the yellow - 4 to 1 , in fact . In an orange and blue combination , the orange is brighter , although not to such an extreme degree ; here , the harmonious rela- tionship is about 3 to 1. Red and green , the final complementary pair , are evenly matched in brightness , and so combine perfectly in equal amounts .
Using viewpoint and focal length , it is often possible to frame a scene so that the colours are in particular proportions . This makes a very good exercise in working with colour relationships , but beware of thinking that there is something ' correct ' in the combinations described here . There is nothing to prevent you from making a dramatic combination of colours that clash . Knowing these complementary relationships , however , will help you in deciding the amount of harmony or discord in a scene .
RIGHT AND BELOW RIGHT These two scenes , on first impressions , couldn't appear further apart , both in approach and subject matter . Yet both make use of complementary colours ; in the case of the shot of the ' Blackbird ' aircraft ( below right ) , orange and blue are used to bold advantage , while gold and blue are exploited in the photo of the wrapping to the foot of a lunar module ( right ) .
ABOVE LEFT An image can be given an extra boost by playing off two complementary colours - in this case yellow and blue - against the rich red , which gives the photo the depth that would otherwise be lacking .
ABOVE The relative brightness of complementary colours must also be taken into account when composing a scene ; in this case , the potential strength of the yellow has been off - set by the depth of the blue .
ABOVE FAR LEFT Complementary colours can be employed even in subdued conditions to lift a photo above the ordinary .
.. كيفية التقاط وتطوير الصور الملونة
COMPLEMENTARY COLOURS
A quite different way of combining colours is across the colour wheel . Any two colours that are directly opposite each other on the wheel have a special rela- tionship to each other ; if a painter were to mix them , they would produce a neutral tone , or if two lights of these colours were played onto the same sur- face , the result would be white . On the face of it , this relationship may seem to be more important to a painter than to a photographer , but in fact it underlies the harmony of what are called complementary colours .
The simplest version of the colour wheel is one that contains just six hues three primaries and three secondaries . Opposite each primary is a secondary colour for instance , orange lies opposite blue and because they mix to a neutral grey or white , they balance each other . You can test this by taking two filters , such as red and green , and holding one over the other . Although this balance is a technical one , it is the reason why , to the eye , a combination of two such opposite colours in an image seems harmonious .
To get a completely balanced effect using complementary colours , one more thing needs to be considered - the relative brightness of each . Just a glance at the wheel shows that yellow is the brightest of the colours , and violet the darkest . So , to create an overall harmony in a picture that has these two com- plementaries , there needs to be considerably more of the violet than of the yellow - 4 to 1 , in fact . In an orange and blue combination , the orange is brighter , although not to such an extreme degree ; here , the harmonious rela- tionship is about 3 to 1. Red and green , the final complementary pair , are evenly matched in brightness , and so combine perfectly in equal amounts .
Using viewpoint and focal length , it is often possible to frame a scene so that the colours are in particular proportions . This makes a very good exercise in working with colour relationships , but beware of thinking that there is something ' correct ' in the combinations described here . There is nothing to prevent you from making a dramatic combination of colours that clash . Knowing these complementary relationships , however , will help you in deciding the amount of harmony or discord in a scene .
RIGHT AND BELOW RIGHT These two scenes , on first impressions , couldn't appear further apart , both in approach and subject matter . Yet both make use of complementary colours ; in the case of the shot of the ' Blackbird ' aircraft ( below right ) , orange and blue are used to bold advantage , while gold and blue are exploited in the photo of the wrapping to the foot of a lunar module ( right ) .
ABOVE LEFT An image can be given an extra boost by playing off two complementary colours - in this case yellow and blue - against the rich red , which gives the photo the depth that would otherwise be lacking .
ABOVE The relative brightness of complementary colours must also be taken into account when composing a scene ; in this case , the potential strength of the yellow has been off - set by the depth of the blue .
ABOVE FAR LEFT Complementary colours can be employed even in subdued conditions to lift a photo above the ordinary .
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