تويت
التصوير الفوتوغرافي الحديث
التصوير بالألوان وحقائق حول المرشحات
الجزء الأول التصوير بالألوان
الخصائص الثلاث للون
THE THREE CHARACTERISTICS OF COLOR
The photographer who deals with color often finds it necessary to talk about it in rather specific and accurate terms . It isn't enough just to call a color green , for example . Such broad descriptive adjectives as bright , vivid or deep help to some extent , but they are not enough . Something more accurate is needed . There are three terms used in describing colors which have quite specific meanings , and the photographer who deals in color should know and understand them . These terms are :
1. Hue
2. Saturation
3. Brightness
HUE . Hue is the name of the color . The colors , or hues , of the spectrum are violet , blue , green , yellow , orange and red . Hue has nothing to do with brightness or strength of color . A very bright lively green has the same hue as a deep somber green - they are both green .
The concepts of warmth and coolness of a color relate to hue . Warm colors are those at the red end of the spectrum ( these are red , orange and yellow ) , while cool colors are at the blue end of the spectrum ( violet and blue ) . Green is the mid - point between a warm and a cool color . If the green is a bluish green , it is cold if it is a yellowish green , it is relatively warm . This association of color to temperature is entirely psychological and associative . We associate warmth with such things as a red fire , a red hot coal , or the warm glow of the sun . We associate cold or coolness with the blue of the sea or the blue - white of brilliant snow illuminated by a clear blue sky .
The photographer who is technically minded cannot fail to see the inconsistency of this point of view when he stops to think that in actuality the higher the temperature of any object , the less red and the more blue its light . But we do not ordinarily have much to do with objects that are so hot that they emit blue - white light , whereas we do have considerable experience with cold or cool .
Figure I Narrow beam of white light passing through a colorless transparent prism is separated into its component colors .
Figure 2 The three primary colors ; red , green and blue , add up to make white . Any two primary colors add up to make corresponding complementary colors .
Figure 3 Greatly enlarged cross - section view of typical color : film showing its multi - layered construction .
objects that are bluish in color . Since our psychological reaction is tied in with our experience rather than with our intellectual concepts , we still associate cold with blue even though we may know better .
SATURATION . Saturation is a measure of the purity of a color . The term intensity is often used in conjunction with saturation , but this term is apt to be misleading in that it can be confused with brightness , which is another matter altogether . If we look through an optically perfect red color filter at a white light , we see a perfectly saturated red . The red is pure - it contains no other colors . Pure colors are relatively rare in nature . In most cases , any color we see has a certain proportion of other colors or pigments . For example , if we add a little white to a pure red pigment , we reduce its saturation . If we mix a little black with the red , we also reduce its saturation .
BRIGHTNESS . The concept of brightness is much more easily understood than that of either hue or saturation because it is a common term that has substantially the same meaning as the technical usage employed here .
The brightness of a color refers to how light or dark it is visually . Brightness is often confused with saturation , but they are two different things altogether . Yellow is a bright color . It has a great deal of visual intensity . Violet is a dark color and has low brightness . A highly saturated violet may appear much darker than a yellow of low saturation . It is possible , of course , to have a yellow with both low saturation and low brightness simply by adding other colors to it .
Brightness is similar to value used in black - and - white photography . The value of a tone is the measure of the amount of light it reflects - in other words , its brightness .
COLOR HARMONY . Color harmony is one of those subjects which is discussed a great deal , but in such general terms that it is difficult , if not impossible , to pin it down . Efforts have been made to define color harmony in exact terms and to relate it to various systems of color sequence or color wheels . These attempts have not been too successful in that there seem to be so many exceptions or so much loose thinking involved that results are quite unpredictable . It is always a moot point whether a certain arrangement or combination of colors looks good because you have trained yourself to consider them good or whether they are inherently harmonious .
In the final analysis , color harmony is largely a matter of personal taste , and what seems harmonious to some , is disturbing to others . Nevertheless , we can lay down some very broad general guides for the student to keep in mind . As he progresses in his use of color , his taste will develop and his sense of what is good color harmony will develop with it . The tendency of those who have had little to do with color , whether they are interested in photography , interior ating or product design , is to favor the brighter , more saturated colors at first . Such colors are more attention getting - they have a higher impact . That is what attracts attention . This is the reason why children and primitive people in general prefer bright , highly saturated colors .
After a time , however , as experience in the handling of color grows , the brighter more vivid colors lose some of their appeal , and the softer less saturated pastel colors take on subtlety and added beauty . This is a natural process and we are all subject to it to a greater or lesser degree . That is why women , who spend great deal of time and thought on their clothing have by and large a better color sense than men , who have given color but little thought . It is not at all a question of inherent aptitude - men develop good taste in this respect just as easily as women .
Most outdoor scenes show good color harmony . There seems to be two good reasons for this - probably the major reason is because we have become familiar with such color combinations and have come to accept them as being right and pleasing , and the second reason is that few colors in nature are saturated .
This gives us two guides to good color harmony . First , avoid the use of bright , highly saturated colors . Second , keep your range of colors small . The more colors you employ in your compositions , the more difficult it is to get them all into harmony . An apparent exception is the use of some brightly colored object as an accent point or accent area in your picture , but if you stop to think for a moment , you will realize that it is not an exception at all . The brightly colored object attracts attention and it is used for just that purpose , so it should not harmonize . If it did , it would become a small relatively unimportant of the overall composition and would , therefore , not make a good accent because it would not attract attention . When using color for accent , however , it is important to restrict the area so used to a relatively small part of the picture - if it is too large , it attracts too much attention disturbance rather than as an accent .
Colors that come close to each other in the spectrum generally harmonize well , while colors at opposite ends of the spectrum do not . Green and yellow , particularly if they are not saturated , go well together , while red and blue clash If you want to use something to harmonize with red , choose orange or orange - yellow .
التصوير بالألوان وحقائق حول المرشحات
الجزء الأول التصوير بالألوان
الخصائص الثلاث للون
THE THREE CHARACTERISTICS OF COLOR
The photographer who deals with color often finds it necessary to talk about it in rather specific and accurate terms . It isn't enough just to call a color green , for example . Such broad descriptive adjectives as bright , vivid or deep help to some extent , but they are not enough . Something more accurate is needed . There are three terms used in describing colors which have quite specific meanings , and the photographer who deals in color should know and understand them . These terms are :
1. Hue
2. Saturation
3. Brightness
HUE . Hue is the name of the color . The colors , or hues , of the spectrum are violet , blue , green , yellow , orange and red . Hue has nothing to do with brightness or strength of color . A very bright lively green has the same hue as a deep somber green - they are both green .
The concepts of warmth and coolness of a color relate to hue . Warm colors are those at the red end of the spectrum ( these are red , orange and yellow ) , while cool colors are at the blue end of the spectrum ( violet and blue ) . Green is the mid - point between a warm and a cool color . If the green is a bluish green , it is cold if it is a yellowish green , it is relatively warm . This association of color to temperature is entirely psychological and associative . We associate warmth with such things as a red fire , a red hot coal , or the warm glow of the sun . We associate cold or coolness with the blue of the sea or the blue - white of brilliant snow illuminated by a clear blue sky .
The photographer who is technically minded cannot fail to see the inconsistency of this point of view when he stops to think that in actuality the higher the temperature of any object , the less red and the more blue its light . But we do not ordinarily have much to do with objects that are so hot that they emit blue - white light , whereas we do have considerable experience with cold or cool .
Figure I Narrow beam of white light passing through a colorless transparent prism is separated into its component colors .
Figure 2 The three primary colors ; red , green and blue , add up to make white . Any two primary colors add up to make corresponding complementary colors .
Figure 3 Greatly enlarged cross - section view of typical color : film showing its multi - layered construction .
objects that are bluish in color . Since our psychological reaction is tied in with our experience rather than with our intellectual concepts , we still associate cold with blue even though we may know better .
SATURATION . Saturation is a measure of the purity of a color . The term intensity is often used in conjunction with saturation , but this term is apt to be misleading in that it can be confused with brightness , which is another matter altogether . If we look through an optically perfect red color filter at a white light , we see a perfectly saturated red . The red is pure - it contains no other colors . Pure colors are relatively rare in nature . In most cases , any color we see has a certain proportion of other colors or pigments . For example , if we add a little white to a pure red pigment , we reduce its saturation . If we mix a little black with the red , we also reduce its saturation .
BRIGHTNESS . The concept of brightness is much more easily understood than that of either hue or saturation because it is a common term that has substantially the same meaning as the technical usage employed here .
The brightness of a color refers to how light or dark it is visually . Brightness is often confused with saturation , but they are two different things altogether . Yellow is a bright color . It has a great deal of visual intensity . Violet is a dark color and has low brightness . A highly saturated violet may appear much darker than a yellow of low saturation . It is possible , of course , to have a yellow with both low saturation and low brightness simply by adding other colors to it .
Brightness is similar to value used in black - and - white photography . The value of a tone is the measure of the amount of light it reflects - in other words , its brightness .
COLOR HARMONY . Color harmony is one of those subjects which is discussed a great deal , but in such general terms that it is difficult , if not impossible , to pin it down . Efforts have been made to define color harmony in exact terms and to relate it to various systems of color sequence or color wheels . These attempts have not been too successful in that there seem to be so many exceptions or so much loose thinking involved that results are quite unpredictable . It is always a moot point whether a certain arrangement or combination of colors looks good because you have trained yourself to consider them good or whether they are inherently harmonious .
In the final analysis , color harmony is largely a matter of personal taste , and what seems harmonious to some , is disturbing to others . Nevertheless , we can lay down some very broad general guides for the student to keep in mind . As he progresses in his use of color , his taste will develop and his sense of what is good color harmony will develop with it . The tendency of those who have had little to do with color , whether they are interested in photography , interior ating or product design , is to favor the brighter , more saturated colors at first . Such colors are more attention getting - they have a higher impact . That is what attracts attention . This is the reason why children and primitive people in general prefer bright , highly saturated colors .
After a time , however , as experience in the handling of color grows , the brighter more vivid colors lose some of their appeal , and the softer less saturated pastel colors take on subtlety and added beauty . This is a natural process and we are all subject to it to a greater or lesser degree . That is why women , who spend great deal of time and thought on their clothing have by and large a better color sense than men , who have given color but little thought . It is not at all a question of inherent aptitude - men develop good taste in this respect just as easily as women .
Most outdoor scenes show good color harmony . There seems to be two good reasons for this - probably the major reason is because we have become familiar with such color combinations and have come to accept them as being right and pleasing , and the second reason is that few colors in nature are saturated .
This gives us two guides to good color harmony . First , avoid the use of bright , highly saturated colors . Second , keep your range of colors small . The more colors you employ in your compositions , the more difficult it is to get them all into harmony . An apparent exception is the use of some brightly colored object as an accent point or accent area in your picture , but if you stop to think for a moment , you will realize that it is not an exception at all . The brightly colored object attracts attention and it is used for just that purpose , so it should not harmonize . If it did , it would become a small relatively unimportant of the overall composition and would , therefore , not make a good accent because it would not attract attention . When using color for accent , however , it is important to restrict the area so used to a relatively small part of the picture - if it is too large , it attracts too much attention disturbance rather than as an accent .
Colors that come close to each other in the spectrum generally harmonize well , while colors at opposite ends of the spectrum do not . Green and yellow , particularly if they are not saturated , go well together , while red and blue clash If you want to use something to harmonize with red , choose orange or orange - yellow .
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