The Art of Photography Assignment 3 Colour

November 2012

Colour harmony through complementary colours

                                                             Washday

F11  1/45 ISO100 Focal length 80mm (Brightness adjustment -0.67)

This photograph of red pegs on red washing against a green background uses the ratio of red to green 1: 1. where the brightness of the red and green is the same. Red is placed in the foreground to add depth to the photograph. Red is an energetic colour, and green is the colour of nature which balances the red well.  To enhance this picture I saturated the colours in DPP (Digital Photo Professional) to convey a strong image of the pegs.

The pegs are composed of strong geometric shapes such as an inverted triangle and parallel lines. As they are at right angles to the washing they show the perspective. By having two pegs in the picture, rhythm is created.

A glass of orange juice

 

F8  1/60 ISO200 Focal length 45mm

The orange and blue in this photo is in the ratio of 1:2 to balance the photo because orange is twice as bright as blue. I used a blue background and a curved glass of orange squash with curves and diagonals. The dark blue background worked as contrast to the bright orange. Blue is a good background colour because it is associated with sky and sea which can be restful.

The straw creates movement through the diagonal lines and the orange segment ends in a diagonal which runs parallel to the straw. The pith and rind of the orange are circular and as the segments form a rhythmical pattern, the viewer does not mind the gap caused by the weight of the orange segment. I balanced curves with diagonals to create a sense of movement within the frame.

F11  1/500 ISO400 Focal length 70mm

The ideal proportions for yellow and violet are 1:3 because yellow is three times as bright as violet. Yellow is a cheerful colour and only a small amount of it is needed to show up on a dark background.

I selected a rich purple material and arranged a multi coloured tape measure onto the material so that only the yellow would show.  The markings are visible on the tape measure which gives a sense of scale. The soft triangles and curves give a flowing movement to the picture. The eye follows the line along the tape measure. I took this outside on a sunny day because it enhanced the shadows thereby adding depth to the photo.

Girl Guiding
 

F8  1/10 ISO200 Focal length 60mmExposure Compensation +1/2

 

This photograph uses a 3 way colour combination of the three primary colours in different proportions (more blue and less yellow) to creates harmony. As the blue is a darker tone it adds to the intensity of the red and yellow.  By using exposure compensation of plus ½ a stop,  the yellow is brighter so that the tone and balance of colour across the photograph was equal.

I arranged a yellow and red neckerchief onto carefully selected badges on a Girl Guide camp blanket. The blanket is not particularly flat and the neckerchief is rolled as it would be when worn. The diagonal lines create movement within the photograph. I tried this with and without the brown woggle. Its inclusion provides a focal point for the diagonal lines.

Colour harmony through similar colours

Warm colours

Sulphur Tuft fungus (Hypholoma Fasciculare) at Clumber Park, Nottinghamshire

F11  3secs ISO100 Focal length 70m(White balance adjusted to daylight in DPP)

The pale yellow hue of the stalks and brighter yellow / orange colour of the caps is set against the darker brown background so the colours show up. Unfortunately the slugs got to the fungus before I did. I enhanced the yellow / orange colours in DPP by changing the white balance to a daylight setting. The detail of the caps and bark gives texture to the photograph. Diagonals give direction and life to the picture.

Anyone for football? 

F22  1/6 ISO400 Focal Length 105mm

Yellow and red when mixed together create orange, so all three colours together are harmonious. The red string and whistle provide a contrast to the orange shirt. The string follows the logo creating movement though the photo. I included some yellow (football cone) to give more contrast and depth to the picture.

Cool Colours

Picnic time

 

F22 1/30 ISO400 Focal Length 58mm

When this scene is viewed as a whole, the dominant colours are cool colours. The greens, blues and lavender are all cool colours. These colours are in harmony with one another, providing the idea of a relaxing picnic. The mats are a bright lime green, but by adding depth to the picture using triangles, the emphasis is taken away from the lime green mats towards the bowl at the front.

Overlooking Derwent Water, Keswick, Cumbria

F9 1/100 ISO200 Focal Length 24mm -2/3 Exposure Compensation

This evening photograph of Derwent Water looks into the sun. To compensate, I turned the brightness of the colours down in the camera by using exposure compensation. I used a graduated filter to balance the bright sky against the darker water. The effect was to throw a blue hue over the green vegetation and rock in the foreground, creating a calm effect with the hills in silhouette. The horizon creates a stable reference point whilst the diagonal line of the shore gives contrast and movement. The picture is softened as the lines are not straight.

Colour contrast through contrasting colours

Sunflower

F8 1/500 ISO200 Focal Length 52mm +1/2 Exposure Compensation

The blue sky and yellow sunflower exhibit two contrasting colours. The sun was directly behind casting a yellow glow onto the petals thus enhancing their colour. By increasing the exposure compensation in camera to brighten the yellow vivid colours were achieved. The blue sky was saturated in DPP to enhance the contrast between the yellow and blue.

 The stem of the sunflower creates an eye line to lead the viewer up to the petals. The brown seeds create further contrast and add interest. I deliberately chose this view of the sunflower as the three open petals lead the viewer into the centre.

Reflections, Chatsworth House Estate, Derbyshire

F11 1/45 ISO400 Focal Length 24mm (Polarising Filter used)

The autumnal colours of the deciduous trees contrast well with and add warmth to the evergreens and water. The reflection gives symmetry and I included the rocks and floating leaves to add interest. The diagonal lines formed by the trees give some tension and the horizon is not central which creates some movement within the picture.I used a polarising filter which works by cutting out some of the reflected light to show the true hues of the subject.

                                                     Home grown carrots

F16  1/125 ISO200 Focal Length 105mm -1/2 Exposure Compensation

The orange and green of the carrots contrast well together. These colours are found together in nature and so although they are not complementary colours on the colour wheel, we associate them as going together. By positioning the carrots in diagonal lines, the viewer follows the line of the carrots.  I used exposure compensation in camera to increase the brightness of the orange and give more contrast between the orange and green.

Luke Quigly, GB Moto Racing Honda,  Donington Park Race Circuit, Leicestershire
 

F13  1/500 ISO200 Focal Length 235mm -1/2 Exposure Compensation

 The bike contrasts well against the colours of the track (red, blue, green). The purple and gold decals of the bike work well together (although the gold is not in the ratio which I set out to find).  The bike is visible despite the contrasting colours of the track.

The triangle shaped bike and the diagonal lines painted on the track add movement to the picture. The fast shutter speed ensured the bike was in focus, although there is some movement shown on the wheels of the bike and the background.

Colour accent using complementary colours

Back yard

F8 1/60 ISO400 Focal Length 105 mm

A bright blue ball placed against a rusty dustbin lid and shed shows up well because the colour combination of orange and blue work well together, and I have previously looked at the ratio of orange to blue 1:2. However, because the blue ball is brighter than the orange and is a small object, it becomes the focal point and demands attention.

The shed door and the lid provide a sense of scale to the photo, and the triangular shape adds perspective and encourages the viewer to take in the whole photo.

Jelly Babies

F16/180 ISO200 Focal Length 105mm -1/2 Exposure Compensation (desaturated)

The green and red jelly babies work because the colour and facial/body expressions gives good contrast. To keep the colours as true as possible, I used exposure compensation of half a stop in camera and destaurated the photo slightly in DPP.

The icing sugar desaturates the hue, and the lighting gives shadows .By keeping the jelly babies in a horizontal line and positioning them so their bodies are not directly facing the camera, the jelly babies appear calm and harmonious. The green jelly baby stands out because it is positioned towards the right of the frame and the eye sees from left to right. The colour provides a focal point as somewhere for the eye to rest.

Colour accent using contrasting colours

Jenny Tinmouth, Hardings Sorry Mate.com Honda, Donington Park race circuit, Leicestershire

F11  1/500 ISO 200 Focal Length 300mm -1/2 Exposure Compensation

The motor bike and rider blends well into the circuit as the bright blue is similar to the circuit and the small piece of yellow on which the number is painted is bright yellow drawing attention to the number. The yellow is brighter than red and because the yellow paint is a larger area than the red symbol on the leathers, it becomes the focal point. Yellow and blue are two contrasting colours. The brightness of the colour contrasts with the blue and there is enough of it to make an impact.

Movement is shown in this photo by the use of triangles and diagonals. The rider is in focus and the wheels and background are blurred with motion blur.

Halloween celebrations, Chatsworth House Estate, Derbyshire

F16 1/15 ISO 400 Focal Length 105mm -1/2 Exposure Compensation

The eye is drawn along the line of balloons to the mauve coloured balloon and rests on it because it is a different colour from the others. Although yellow and violet in the ratio of 1:3 work, this contrasts well because there is a small amount of mauve (which is less bright than purple) against the autumnal colours of orange, green and yellow.  These 3 colours are all the same side of the colour wheel and all 3 have variations of each other – for example, greens can become orange or yellow when leaves decay in the autumn.

The balloons add rhythm to the picture and the path follows the line of balloons strengthening the viewers’ acceptance to follow the path and view this picture from left to right. There is perspective in the balloons as they become progressively smaller as they become further away.