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Photo Design-Light and Color-Chapter 4
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Photo Design-Light and Color-Chapter 4

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Transcript

  • 1. Composing with light and color
  • 2. Chiaroscuro
    • Chiaroscuro-attributed to the Italian painter Caravaggio
      • Literally means light/dark
      • Refers to the dramatic modeling of subjects in painting by shafts of light illuminating dark scenes
      • It controls the sense of modeling in an image and so it controls the 3d quality of the work
  • 3.  
  • 4.  
  • 5. Chiaroscuro
    • Chiaroscuro is a high contrast type of lighting
    • Generally you are exposing for the highlights and allowing the shadows to go comparatively dark
  • 6. Key
    • Brightness can dictate the mood of the photo
    • When the image is dark, favoring shadow tones, it is considered low key
    • When the image is brighter, it is considered high key
    • It is difficult to show high key in color images
    • High key black and white can be luminous and graphic, but high key color often looks washed out and underexposed
  • 7. Original
  • 8. High and Low key
  • 9. Original scene
  • 10. High and Low key
  • 11.  
  • 12.  
  • 13.  
  • 14. Ambiguity
  • 15. Caustics
  • 16.  
  • 17.  
  • 18. Reinforcing pattern
  • 19. Color in Composition
    • Hue, saturation, and brightness make up a color
      • Hue is the name of the color (blue, red…)
      • Saturation is the intensity of the hue
      • Brightness is determines how dark or light the hue is
  • 20.  
  • 21. Color
    • Primary colors are red, blue, and yellow
      • But this doesn ’t correspond with our RGB for film and digital images
    • Red, blue and yellow refer to light reflecting off of paint from paper or canvas
    • Our RGB refers to transmitted light
    • For our purposes we will use the painting primaries
  • 22.  
  • 23. Primary Colors
  • 24. RED
    • Red is considered the strongest color
    • It tends to advance toward the viewer
    • It can be seen as vital, earthy, hot, passion, aggression, danger
  • 25. Red
  • 26. YELLOW
    • Yellow is the brightest color
    • It can be seen as vigorous, sharp, insistent, aggressive, cheerful
    • It has obvious association with the sun and light sources
    • Against a dark background it can seem to radiate light
  • 27.  
  • 28. BLUE
    • Blue recedes more than yellow
    • Seems to be relatively dark, quiet, and cool, wet, airy
    • Refers strongly to sky and water
  • 29.  
  • 30. Secondary Colors
  • 31. GREEN
    • The color of nature
    • Suggest growth and progress
    • Yellow-green is associated with spring and youth
    • Green can also show decomposition and sickness
  • 32.  
  • 33.  
  • 34. VIOLET
    • The illusive color
    • Has connotations of mystery
    • The similar color of purple has connotations of religion and regality
  • 35. Violet
  • 36.  
  • 37. ORANGE
    • Warm, strong, brilliant, powerful
    • It is the color of sunset and fire
    • Associated with celebration and heat
  • 38.  
  • 39.  
  • 40. Color Relationships
    • Colors need to be treated in relationship to each other
    • These relationships can evoke emotional reactions
    • How colors ought to be paired is a question of the ages
    • Harmony is a pleasing, acceptable relationship
  • 41. HARMONY
    • Complementary harmony
      • Hues from across each other on the color wheel
    • Harmony of Similarity
      • Hues from the same section of the color wheel
  • 42. Orange-blue
  • 43. Pink-green
  • 44. Warm-cool
  • 45. Green-orange
  • 46. Red-green
  • 47. Color accent
  • 48. Color accent
  • 49. Muted Colors
    • Strong colors are relatively rare in the natural world
      • They occur in isolated areas (flowers…)
    • With digital photography we can manage saturation of our colors very easily
  • 50. Orientalist palette
  • 51. Muted color
  • 52. Mossy greens
  • 53. Metallics
  • 54. Interference colors
  • 55. Texture and form

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