How to learn to work with color in photography? January 23rd, 2015

This is a burning question. And I must say that if you don’t feel the color, a formalized approach will not do the job for you. However, it may help.
Once upon a time there lived Johannes Itten. And he wrote the book “The Art of Color”.
Among other things, he invented his own color wheel. Twelve-bit.
You can read about how it differs from an optical circle from my friend and colleague Andrey Zhuravlev.
He, of course, is a circle. By the way, don’t be fooled by the fact that warm yellow is called not sienna, but cyan turquoise. It’s important for us to talk about the same thing here, so let’s accept these conventions.

There is a popular application for FS - Adobe Kuler. And under no circumstances should they be used. The fact is that it contains an optical circle that is correct from the point of view of physics and the real spectrum (RGB). But this circle is about something else. If anything, it is made by artists for artists.

Yellow is the cornerstone - it is the lightest and cannot be obtained by mixing any other darker colors. Yellow is part of the primary triad (RYB). It also includes blue and red. When mixing primary colors we get a secondary triad: green, orange, purple.

The arrangement of flowers in a circle is not accidental. Each pure color has a “native” tone. Tone is brightness, it has nothing to do with hue (about concepts, yeah). Yellow is the lightest and at the very top. Purple is the darkest - opposite yellow and at the very bottom. These are two pure colors that have no “brother” in tone. If you draw a vertical axis in the middle of the circle, then the brothers will look at each other as if in a mirror. The tone is equal to pure sientha and herbal, green and orange, and so on.

Opposite colors are called complementary or complementary.
Itten, among other things, identified to this very mother the types of contrasts.
We are accustomed to the word “contrast” denoting the degree of difference between dark and light. Although in fact contrast is the degree of ANY difference on any scale.

Therefore. To learn how to work with color, you need to see these contrasts and distinguish between them:
1. achromatic (darker-lighter)
2. color shades (blue, not red, green, not yellow)
3. temperature (by the way, a color is not warm or cold on its own, only in the context of other colors)
4. saturation (red - gray)
5. complementary colors (blue - orange, green - red...)
6. by area (small red ball on a large green lawn)
7. simultaneous (“look at this incomprehensible picture for 30 seconds without blinking, and then look sharply at the white wall and see the face of Marilyn Monroe” - once went around the Internet)

Harmonic combinations are derived from the second type of contrasts. Well, that is, “rules”, which colors go with which ones, and which ones to exclude from the photo.

In the illustrations below, you can rotate the black figures in a circle at any angle, the diagram will work. Well, the pictures are intended to illustrate belonging to the type of diagram, and not to a specific rotation of the figure in the circle. The photos were taken from the VK Retouch Pro public page.

Related scheme (3 adjacent sectors)

Related-contrasting (4-6 neighboring)

Triadic (equilateral triangle)

Chordata (1, 2, 3 or 4 chords exactly at 0 or 90 degrees - yellow at the top, purple at the bottom)

Complementary

Each “pole” of the circuit can and should be split symmetrically. For example, in the last example, I can split the yellow into grass and sienna in equal proportions and get more variation in shades. You can’t just split yellow into grassy. It should split in both directions. So that the splitting when mixed gives a yellow color.

Pavel Kosenko, in the comments to Andrey’s post, the link to which I provide above, swears terribly at all these circles and schemes, hinting at quackery. I answer. If you use these schemes just like that, nothing good will really come of it. But someone forgot that we have as many as 7 types of contrasts. And the diagrams describe only the second (color shades). Inside the photographs, the remaining 6, for which no schemes have been invented, should live and be harmoniously combined. However, inside the second type all these combinations work great =)

A bundle for memory. Instead of the quack Cooler from Adobe, you can use this. It does the same thing as the Cooler, only it has both circles built into it with the ability to switch - RYB and RGB. You really only need RYB =)

And to understand why your photo looks like turd in terms of color, just ask yourself 7 questions: “What is my saturation contrast?” And with the other six. We need to work on everyone.

So what? Here they are, all these types of contrasts and schemes. Is there a plugin that clicks on the button and all the colors are beautiful?
- No, you lazy ass. This is a cheat sheet and the rules. The colors in the photo must be changed manually. Oops.
- What about presets and cross-processings? They click and beautifully.
- Stay on Instagram and enjoy. What does image making have to do with it?

Most of us use color thoughtlessly in photography. But once you take a selective approach to the tones in the frame and pay attention to the colors in the composition, you will see a qualitative change in your work.

We'll go back to basics color theory and tell you how to use color circle to mix and match colors perfectly. Then we'll focus on the use of color and different ways to create vibrant, exciting images.

If you decide to practice, then bright clothing items will come in handy. They can be inexpensive. First, we'll show you how to create a special look in a portrait by adding one bright color against a dominant neutral shade.

Then you can move on to experimenting with additional colors.
The third stage is to create striking effects by mixing shades of the same color. Finally, let's touch on the use of a great variety of different colors for fun rainbow photos.

And, importantly, you will learn how different lighting options can dramatically affect the perception of color in photography.

You probably know that color can have a huge impact on our mood. And its proper use is a great way to add vitality to your photos.

The simplest experiment with color is to add an accent of one bright shade to counterbalance the predominant neutral composition.

In this case, red color works flawlessly. Also, any warm shade, such as orange or light pink, will look good as a focal point.

The model in the photo above has red lips and a matching scarf, which clearly stands out against the background of the black coat and gray walls. The outline of the eyes brings life to the frame.

After mastering the simple use of one bright color, try contrasting two shades in a portrait.

The easiest way to choose two shades in a photograph is to use a color wheel. Colors that are directly opposite, such as orange and blue or red and green, tend to complement each other well.

The visual perception of different colors can cause very strong emotional reactions.

For example, red symbolizes passion and danger, while blue promotes relaxation and has an instantly calming effect.

You can deliberately evoke certain feelings in the viewer by using several shades of the same color in the photo. Our example combines shades of green. This creates a calming effect.

Choose the right white balance

For the two portraits above, different white balance settings were used, which dramatically affects the changes in the color palette of the image. In the first case, setting the BB “tungsten lamp” made it possible to soften the tone of the model’s purple dress and give the portrait a cool mood. In the second, natural lighting was preserved so as not to affect the various shades in the photo.

It happens that violating the rules and principles in photography gives an extremely pleasant effect. This also applies to color theory.

Try mixing and matching colors to see what happens. The more you experiment, the more you'll begin to understand what looks good and what just looks flashy.

In this portrait there were blue walls, a green dress, a purple scarf and yellow flowers, which, according to all the rules, should not happen in photography. But in combination with soft light, it was possible to create a quite attractive rainbow effect.

Designers usually use a blank with a palette of different colors and automatically get compatible shades.

For the effective use of color, not only the correct shades are crucial, but also the lighting.

Colors photographed in harsh sunlight will look very different compared to those photographed in dim indoor lighting. The key to how colors are perceived is the positioning of the light source. You can clearly see this in the three pictures below.

In each case, the scarf on the model looks completely different.

The use of backlighting gave new options for the perception of shades. You can mute colors to pastel shades and create different contrasts with side lighting. Moreover, the same principles apply to both artificial and natural lighting.

Front lighting

Placing the sun or other main light source directly behind the photographer will show colors as we perceive them in real life. That is, with all brightly and evenly lit tones. This is exactly what we see in the photo above with the model's rainbow scarf.

Backlighting

I have always loved photographs with color. Three years ago, when I was just studying the instructions for my first DSLR, I just began to be interested in the works of famous photographers; first of all, it was the color in the photo that caught my eye.
The choice of color in my photographs plays a very important role for me. I can spend a very long time selecting a harmonious combination of colors when processing photos.

In this article I would like to talk about color selection in preparation for a photo shoot.
As a rule, before shooting I already imagine the result that I would like to get. Pictures of my photography always sit in my subconscious. Understanding what result you want to get is the key to successful shooting.
It is advisable to study the theory of the color wheel, especially if you are just starting to work with color. From the very beginning of my photographic journey, I chose colors in photos intuitively, but perhaps if I had known the theory well, my first photo shoots would not have been so terrible.
In my photographs I try to play on the contrast of colors.

Main types of contrasts:

Depending on what exactly served as inspiration for me, I select colors and their combinations in the photo:
1. Model and its color type
2. Animals or accessories and their color
3. Clothes
4. Location
Very often I am inspired by girls with unusual appearance for this or that photo shoot idea. In this case, the shooting is structured in such a way as to emphasize this appearance, and when selecting clothes and locations, I start from the model’s color type.

It is advisable for all photographers to be a little stylist.
You need to know that girls have four main color types: summer, winter, spring and autumn.
The model in this photo is a prime example of the “autumn” color type.
The eyes of these girls are green, amber or brown, their skin is light with freckles, and their hair is copper or red. Very warm type of appearance.

I wanted an unusual color for the outfit that would contrast nicely with her coppery hair, so I asked the model to find a sweater in an azure color (the color that is the opposite of orange on the color wheel). This contrast is called complementary.

Animals or accessories

The inspiration for this photo was the chicken and its bright plumage. The main colors of this animal are red and yellow. In addition, the shooting was carried out in winter, and this is usually a cold blue background, so I consciously tried to select red and yellow colors in clothes (jewelry, scarf) and then simply increased the contrast of three colors: blue, red and yellow. According to the color wheel, this contrast is called primary.

Similarly, in the photo with flowers, the idea of ​​shooting was large fuchsia paper flowers. We filmed in a field in the summer, so the background was divided into two parts: blue sky and green grass.
I wanted to leave the model’s clothes neutral (a simple white dress) so as not to overload the picture with additional colors. I also played on the contrast of opposite colors (although I made the contrast quite soft). This contrast is called secondary.

Model clothes

Sometimes on set I am inspired by clothes: their color, style.
Often designers ask to shoot a collection or a model sends a photo of an unusual dress. It is best when the clothes are a single color or with a small print.
In this case, I liked the blue color of the dress, and an immediate association with Snow White arose. The model fit exactly this style, her color type was “winter” (dark hair, white skin). For some variety of color in the photo I added red: lips, apples and red fabric. The result was a strong contrast of only two colors: blue and red. There was still green grass in the photo, but this color did not fit into the overall scheme, and when processing the photo, I tidied it up into a neutral gray. This contrast can be conditionally called the main one, taking into account the yellow tone of the model’s skin.

Sometimes I get inspired by the location itself. I find a beautiful landscape or an unusual interior, and the entire shooting is planned for this location.

In this photo, I played with purple and green colors, having been inspired by the color of lilac in a nearby park during the preparation for the photo shoot. The dress was chosen to match the flowers. This is a game of similar contrast, these colors are located in the same segment of the color wheel.

Here in the photo there is a nice interior in the Ukrainian style, so the model is a girl with a bright “winter” appearance. Ethnic clothes in bright colors were also selected. I deliberately operated with the contrast of yellow and red.
You need to think through your shooting before implementing it and think (and really think!) about the colors that will be present in your photo.
I repeat once again: a competent selection of four components - model, clothes, accessories and location - is the key to good shooting.

Remember the photographs that, thanks to their color palette, really impressed you and caught your eye. Moreover, the presence of bright colors is not at all necessary; these photographs stand out among others thanks to the color relationship that the photographer himself builds.

To use and benefit from all the countless shades of color, we must have a good understanding of color theory. In this article, we briefly outlined for you the main postulates of color theory.

Let's start with the basics. Color circle

Most likely, you have heard more than once about the existence of the color wheel; you may have studied its structure in drawing lessons as a child. We invite you to refresh your knowledge.

We need the color wheel to understand how colors interact with each other, how they are combined. This is exactly what it was created for.

Within the color wheel, there are primary, secondary and tertiary colors, which together form the color spectrum. Thanks to this division, it is much easier to consider the relationship between colors. All initial colors are the brightest in the spectrum, adding white to them, we get lighter, pastel shades, adding black, we get colors in dark tones, respectively.

Now we will look at primary, secondary and tertiary colors.

Primary colors

The most basic, basic colors are red, yellow and blue. By mixing them in different proportions, we get all the other colors of the spectrum, and by adding black and white, we get their additional shades.

Complementary colors

Complementary colors (in other words, complementary) are secondary, i.e. are created by connecting two primary ones. On the color wheel they are located opposite the primary color, which they do not contain.

• Red + Yellow = Orange (complementary color Blue)
• Yellow + Blue = Green (complementary color is Red)
• Blue + Red = Purple (complementary color is Yellow)

We get aesthetic pleasure when we see colors in a painting or photograph that complement each other. A correctly selected color palette can significantly increase the visual effect. In photography, by combining complementary colors, we achieve contrast, which gives the image greater dynamism.

When photographing, try to look for these most complementary colors around you. Soon you will notice them everywhere.

Use the theory of the color wheel during staged filming and when composing a composition.

And when photographing portraits, this theory will be no less useful. In any photograph, the colors should be combined and look harmonious. When choosing an outfit for a model, think about what background you will be photographing her against, and, based on this, choose the color of the clothing. For example, a model in a yellow dress will look very impressive against a blue or purple background.

Similar colors

These are colors that are located next to each other on the color wheel.

For example, let's take green and blue-green, these colors are similar, just like yellow-green. Their combination gives a feeling of calm and harmony.

Warm and cool colors

The color wheel is usually divided into warm and cool colors. Warm colors are: red, yellow, orange. Cold, respectively: green, blue and purple. Interior designers very often use the properties of cold and warm colors. Cool colors can visually enlarge the space, while warm colors give a feeling of homeliness.

These facts can also apply to photography. When creating a composition, for an object whose color can be classified as warm, look for a background of the opposite, i.e. cold color. This will add drama to the photo. However, cold-colored objects do not always look harmonious against a warm background.

Knowing and understanding the physics of color, its psychology, and the ability to combine, you will be able to create expressive, spectacular photographs that attract the viewer’s eye. It is color that creates the entire mood of a photograph and makes one object stand out from the rest.

4152 Improving your skills 0

Today we will talk to you, our dear readers, about color theory. Or rather, about one trick with complementary colors that not everyone knows. Most of you haven't heard of her at all. The technique of using complementary colors is not new; artists have been using this technique for a very long time. However, when photographing, we rarely tend to think about this when we are shooting.

While a photographer doesn't always have the same freedom to choose colors as a painter, it's good to keep this in mind when taking photographs as it will help create scenes with certain color combinations that look better than others.

What are complementary colors? Complementary colors are arranged according to the principle of color opposition when they are in some color model. The color that is opposite the main color on the color wheel is called complementary. It is formed from adjacent colors within this model. Using these colors together provides contrast, which allows you to create more powerful images.

RGB color wheel:

For example, if you choose red as the main color, then using the color wheel you will get that blue lies opposite it, while blue and green lying on the sides of it give exactly the same blue color when mixed. Similarly, if you take green as a basis, then purple will be opposite, and if you choose blue, yellow will be found. Thus, cyan, violet and yellow will be complementary to red, green and blue, respectively.

If we take the red-yellow-blue model as a basis, the system will look like this:

How it works in practice

Thinking about what colors are associated with different situations can lead you to start combining different colors to achieve the desired effect. For example, the color blue does not occur very often in nature. However, on a clear day, we have a blue sky as a dramatic backdrop, which is great for complimentary colors.

In the RGB (Red-Green-Blue) color model, we see that yellow is opposite blue, and in the RYB (Red-Yellow-Blue) color model, it is opposite orange. So, you need something yellow or orange that will appear against the blue sky.

Green, on the other hand, is found in abundance in nature, making reds, purples, and violets good candidates for contrast. It follows that objects that naturally have red and green parts look good on their own, since they do not require the addition of additional objects of other colors for a vibrant effect.

Obviously, if you're shooting indoors, constructing your images using different backgrounds, you can take this principle into account in post-production as well.

In the image below, the bowl and background around the peaches were actually quite neutral in color, but the processing added a blue tint that provided a better contrast with the fruit.

You may find yourself in a situation where the colors in an image seem to be consistent with the principle of combining complementary colors, but you still feel like something is missing to enhance the effect. There's a good chance that one of your key colors could benefit from being more saturated, softened, brightened, darkened, etc. So in this situation, consider adjusting the saturation, brightness, or tint in your favorite photo editing program. .