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Lisa Elmaleh

video

Florian Maier-Aichen

http://www.youtube.com/watch?v=-OuILnb3GE8

Gregory Crewdson

http://www.youtube.com/watch?v=RywAfP4KFcY

COLOR HAS TEMPERTURE! Before sunrise & before the night the world is black and white Color will fade. try this for a cool, shadowless quality (pearly and flat)

Christina Groth-Biswas

Martin Smith

As soon as sunrises = warm orange, cold blue shadow

Mid-morning and mid-afternoon are the best times to let the colors of the subject dominate

Robert Richfield, Brighton-Hove, East Sussex, England 1993

The higher the sun = the greater contrast between colors

John Upton

John Upton

The sun goes down & clear evening = golden glow, strong surface textured

After sun set = use long exposure, no shadow, can provide pink + violet effects

Turn auto White Balance to daylight when photographing sunsets.

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* Use the sunset mode (works the same for sunrise) on your camera. It automatically sets the best focus and exposure (no flash) for your lighting conditions. The white balance (WB) will be set to daylight to capture and keep the warm shift in color balance. * * If you have a subject in the foreground of your sunsetsunrise, use the night scene mode (night flash) setting on your camera to illuminate the subject. * * Night scene is especially good for taking a picture of a person with the sunset or city lights in the background. Use a tripod or rest your hands on a railing to steady the camera. * * Panorama modewhat has more impact than a standard format picture of a sunrisesunset? A breathtaking panorama of the whole horizon.

Sundown = Flat color

White balance (WB) is the process of removing unrealistic color casts, so that objects which appear white in person are rendered white in your photo

White Balance

for cooler (blue or green) light youll tell the camera to warm things up and in warm light youll tell it to cool down.

* Auto this is where the camera makes a best guess on a shot by shot basis. Youll find it works in many situations but its worth venturing out of it for trickier lighting. * Tungsten this mode is usually symbolized with a little bulb and is for shooting indoors, especially under tungsten (incandescent) lighting (such as bulb lighting). It generally cools down the colors in photos. * Fluorescent this compensates for the cool light of fluorescent light and will warm up your shots. * Daylight/Sunny not all cameras have this setting because it sets things as fairly normal white balance settings. * Cloudy this setting generally warms things up a touch more than daylight mode. * Flash the flash of a camera can be quite a cool light so in Flash WB mode youll find it warms up your shots a touch. * Shade the light in shade is generally cooler (bluer) than shooting in direct sunlight so this mode will warm things up a little.

The Kelvin Scale ranges from 2000 10000. The coldest tone of the scale starts at 2000, casting a very cold bluish tint to photos. The warmest tone of the scale ends at 10000 and is extremely red-orange

1000-2000 K Candlelight 2500-3500 K Tungsten Bulb (household variety) 3000-4000 K Sunrise/Sunset (clear sky) 4000-5000 K Fluorescent Lamps 5000-5500 K Electronic Flash 5000-6500 K Daylight with Clear Sky (sun overhead) 6500-8000 K Moderately Overcast Sky 9000-10000 K Shade or Heavily Overcast Sky Just as your cameras white balance will compensate for the way it sees the light in a scene, Kelvin Scale allows you to control the color correcting of your images point by point.

USE AUTO WB IF 1) the application does not require absolute maximum color accuracy 2) there is not a lot of of one color in the scene being photographed, and (3) the photographer wants adjustments made for the color temperature of the light. It is also a good option for situations where the light changes over time and speed is an issue (e.g., animal photography).

GOOD FOR AUTO WHITE BALANCE

CUSTOM White Balance This is where the concept of "White Balance" comes in. If we can tell the camera which object in the room is white and supposed to come out white in the picture, the camera can calculate the difference between the current color temperature of that object and the correct color temperature of a white object. And then shift all colors by that difference. Most advanced digital cameras therefore provide the feature to manually set the white balance. By pointing the camera at a white or gray card (angled so that it is reflecting light from the room) as a neutral reference, filling the screen completely with it, then pressing the White Balance button (or set it in the menu), the camera does its WB calculation. From then on, any picture taken will have its colors temperature shifted appropriately. It's quite simple, really, and you should not be afraid to try it out and see your indoors pictures improve considerably (assuming there is enough light for correct exposure). [A "neutral" gray is 18% gray and will reflect all colors equally.] Caution: - Ensure the card is not in shadows, but illuminated by the artificial light in the room - If you are bouncing light off the walls, ensure the card is reflecting the bounced light - Beware of mixing artificial lights -- in this case, you might want to use RAW and adjust in post processing for each light - Beware of fluorescent light: since fluorescent light does not contain all the spectrum of light, you may obtain unexpected results

By pointing the camera at a white or gray card (angled so that it is reflecting light from the room) as a neutral reference, filling the screen completely with it, then pressing the White Balance button (or set it in the menu), the camera does its WB calculation.

Custom White Balance

SAVE MONEY! Use underside of a lid to a coffee or pringles container!. Raw = also good practice

CUSTOM white balance accurately records the color of objects as they would appear if the objects were photographed in neutral colored light. BUT accurate color according to how the colors would appear in neutral light can be either a good or a bad thing.

USE DAYLIGHT PRESET WB!

Special Effects Experiment!!! Dialing in a WB setting inappropriate for the lighting situation allows us to create some special effects. Example, you are taking a picture outdoors and you want to make the light warmer, perhaps creating a late evening, sunset effect. To do that, we dial in a Fluorescent WB, in effect telling the camera that the light is too cool. The camera responds by shifting every color toward the warm, red values. Dial in a Tungsten WB, and the camera shifts all colors toward the cool, blue values. Lots of trial and error recommended here.

FOR SHOOTING IN RAW! USE PHOTOSHOP! When you save an image in RAW file format, you are saving it the way the image sensor sees it -- without applying any adjustments (including white balance) to it. The camera ignores any WB setting you dial in.

link

The world is full of light

Color is the by product of the spectrum of light, as it is reected or absorbed, as received by the human eye and processed by the human brain. We perceive color just as we perceive taste.

Subtractive Color uses paints, dyes, inks, and natural colorants to create color by absorbing some wavelengths of light and reecting or transmitting others. This subtractive action is the basis of photographic lters, almost all lms and color papers, and photomechanical reproduction in color.

An additive color model involves light emitted directly from a source or illuminant of some sort. The additive reproduction process usually uses red, green and blue light to produce the other colors. See also RGB color model. Combining one of these additive primary colors with another in equal amounts produces the additive secondary colors cyan, magenta, and yellow. Combining all three primary lights (colors) in equal intensities produces white.

Color Scheme & Color Harmony

Primary color (Bold, Straightforward, Intensity) Rolf Aamot, The Fall, 180x120, 2002/2003

Primary color Annie Leibovitz, Polly Weydener. Retired chiropractor's assistant Beach Patrol headquarters public restroom, Miami Beach, Florida

William Eggleston

Anna Fox, Untitled, from the Zwarte Piet series

Complementary colors are colors that are opposite each other on the color wheel, such as blue and orange, red and green, purple and yellow. The high contrast between the colors creates a vibrant look, especially when used at full saturation. Complementary colors can be tricky to use in large doses.

Complementary Color (contrast, vibrant, association to nature) Steve McCurry, Afghan Girl, 1984. The original photo appeared on the June 1985 cover of National Geographic.

Steve McCurry, Afghan Girl, 2002

Anthony Goicolea | Pile 2001 |

Anthony Goicolea | Ash Wednesday l 2001 |

Annie Leibovitz, Karen Finley Performance artist, Nyack, New York

A monochromatic scheme consists of different values (tints and shades) of one single color. These color schemes are easy to get right and can be very effective, soothing and authoritative.

Simen Johan, Untited #118, 2003.

ALEC SOTH, West Point, New York

Sarah Hobbs, Untitled, 2003.

Sandy Skoglund, The Cocktail Party, 1992

Alex Maclean, 2007

Analogous color scheme: Analogous colors are colors that are adjacent to each other on the color wheel. Some examples are green, yellow green, and yellow or red, orange and yellow. Analogous color schemes are often found in nature and are pleasing to the eye. The combination of these colors give a bright and cheery effect in the area, and are able to accommodate many changing moods. When using the analogous color scheme, one should make sure there is one hue as the main color.

Alex Maclean, 2007

Loretta Lux, Spring, 2002.

John Pfahl, 1993

Edward Burtynsky, Manufacturing #17, Deda Chicken Processing Plant, Dehui City, Jilin Province, 2005

Amy Stein

Neutral color scheme: A color scheme that includes only colors not found on the color wheel, called neutrals, such as beige, brown, white, black, and gray

ALEC SOTH, Florence

Uta Barth, Ground # 38, 1994.

Accented neutral color scheme: A color scheme that includes neutral colors, like white, beige, brown, grey, or black, and one or more small doses of other colors.

ALEC SOTH, Nome, Alaska

Tessa Bunney

Sarah Hobbs, Untitled, 2002.

Subjective color is the use of color to create a certain effect rather than to portray the apparent local color of a scene from the world or of our experience.

Sandy Skoglund

Color Psychology - The Psychological Effects of Color While perceptions of color are somewhat subjective, there are some color effects that have universal meaning. Colors in the red area of the color spectrum are known as warm colors and include red, orange, and yellow. These warm colors evoke emotions ranging from feelings of warmth and comfort to feelings of anger and hostility. Colors on the blue side of the spectrum are known as cool colors and include blue, purple, and green. These colors are often described as calm, but can also call to mind feelings of sadness or indifference. Color Psychology as Therapy Several ancient cultures, including the Egyptians and Chinese, practiced chromotherapy, or using colors to heal. Chromotherapy is sometimes referred to as light therapy or colourology and is still used today as a holistic or alternative treatment. In this treatment: * Red was used to stimulate the body and mind and to increase circulation. * Yellow was thought to stimulate the nerves and purify the body. * Orange was used to heal the lungs and to increase energy levels. * Blue was believed to soothe illnesses and treat pain. * Indigo shades were thought to alleviate skin problems. Most psychologists view color therapy with skepticism and point out that the supposed effects of color have been exaggerated. Colors also have have different meanings in different cultures.

Steve McCurry

Jan Van Eyck

PLAY WITH COLOR!

Alex Maclean

Kim Buckley and Richard Baxter

Color as narrative

http://www.youtube.com/watch?v=vNtwwtaPj-k

http://hollyandres.com/splash.html

Gregory Crewdson

Gregory Crewdson

Lee Seung-Hee (Nikki S. Lee)

Nikki S. Lee

Nikki S. Lee

Nikki S. Lee

Jeff Wall, Invisible Man

William Eggleston

William Eggleston

William Eggleston

Andreas Gursky

Laurie Simmons

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