Photography 1: The Art of Photography

Project: Colour Relationships.
Exercise: Colour Relationships.

This exercise was in two parts.  For the first part I produced one photograph for each combination of the primary and secondary colours, adjusting the distance, focal length or framing so the the proportions of each colour are as given in the list below:

• Red: green          1:1
• Orange: blue       1:2
• Yellow: violet        1:3

These ratios were first suggested by the German poet and playwright J W Von Goethe when he assigned the following values to the six colours: yellow 9, orange 8, red and green 6, blue 4 and violet 3.

For the second part of the exercise I produced three images which featured colour combinations that appealed to me.

The images for the first part of the exercise are given below:

Red : Green; 5057.jpg; Pentax *ist D; 18-55mm lens, F13; 1/125s

The red and green parts of this image are approximately in the ratio 1 : 1.

Orange : blue; 5047.jpg; Pentax *ist D; 18-55mm lens, F11; 1/180s

The orange and blue parts of this image are approximately in the ratio 1 : 2.

Yellow : violet; 5071.jpg; Pentax *ist D; 18-55mm lens, F13; 1/180s

The yellow and violet parts of this image are approximately in the ratio 1 : 3.

The images for the second part of the exercise are shown below:

Blue:Violet; 5058.jpg; Pentax *ist D; 18-55mm lens, F13; 1/90s

Although the blue and violet in this image are not complimentary colours the overall effect is quite pleasing as the colours are not vibrant but muted or sombre.  As the two colours lie close together on the colour wheel, they harmonise.

Blue : Violet; 5080.jpg; Pentax *ist D; 18-55mm lens, F19; 1/250s

Again the blue and violet in this image are not complimentary, but here the blue is more vibrant and there is less harmony in the image.  There is a certain amount of tension or conflict in the image due to the colours present.

Red : Blue; 5067.jpg; Pentax *ist D; 18-55mm lens, F13; 1/1000s

The red and blue in this image are almost opposite on the colour wheel and therefore naturally contrast well when used together.  This is because they are at the extremes of our colour perception.  Red is a very dominant colour, and blue is one of the most recessive.  A slight sense of unease is created in the image.  The presence of the blue colour plays its part by adding to the impact of the red.

What have I learned from this exercise?

The impact of colour in an image is all about the effect colour has on the viewer, which is often determined by the relationships between the colours themselves.  Colour relationships basically fall into two categories: harmonious colours and contrasting colours.

On the colour wheel, the colours that lie opposite one another, (yellow and blue, for example) will contrast, and colours that lie near to each other (like orange and yellow or blue and purple) will harmonise.

Setting a stark contrast between colours will create tension and conflict in a picture, while composing a scene with harmonising colours will encourage a feeling of harmony.

By using colours consciously you can change how the perspective appears in an image.  Warm shades of red, yellow and orange advance in the picture frame, for example, while cool shades of blue, green and cyan recede.  Using saturated warm and cold colours together gives bold contrast in a photograph.  For example, in an image of a red maple leaf against green moss, the red would advance and the green recede, making the leaf appear to jump out of the picture.  This high visual impact is used extensively in advertising to attract attention.

In comparison with the vitality of bold, saturated colours, muted, or de-saturated shades have a more subtle and calming effect in an image.  This is because of their restricted colour range, which can be used to convey many different moods.  Whereas bright colours seize the viewer's attention by being shocking, muted colours are more relaxing, evocative and atmospheric.

Photography 1: The Art of Photography

Project: Building a library of colours.
Exercise: Primary and secondary colours.

For this exercise I looked for scenes or parts of scenes that were each dominated by a single one of the primary and secondary colours.  The primary colours are yellow, red, blue and green.  Secondary colours, such as green, violet and orange can be thought of as mixtures of the primary colours.

With each of the colours found and photographed, I varied the exposure slightly for each of photographs.  The first exposure was made as the camera's meter reading indicated, a second exposure was made half a stop darker, and a third exposure half a stop brighter.  This changed the appearance of the colours.  I selected the exposure that more closely matched the colours in the circle printed in the course book.  The three photographs of each scene are shown below:

Yellow (Primary Colour)

4981.jpg; Pentax *istD; 18-55mm lens with polarizing filter; F/11; 1/750s

4982.jpg; Pentax *istD; 18-55mm lens with polarizing filter; F/11; 1/1000s

4983.jpg; Pentax *istD; 18-55mm lens with polarizing filter; F/11; 1/500s

Image number 4982 has yellow that is closest to that in the course book.  This photograph had been underexposed by half a stop.  This underexposure also gives a brighter, more saturated colour.

Orange (Secondary Colour)

4997.jpg; Pentax *istD; 18-55mm lens with polarizing filter; F/5.6; 1/45s

4998.jpg; Pentax *istD; 18-55mm lens with polarizing filter; F/5.6; 1/60s

4999.jpg; Pentax *istD; 18-55mm lens with polarizing filter; F/5.6; 1/30s

Image number 4998 has orange that is closest to that in the course book.  This photograph had been underexposed by half a stop.  This underexposure also gives a brighter, more saturated colour.

Red (Primary Colour)

5014.jpg; Pentax *istD; 18-55mm lens with polarizing filter; F/6.7; 1/90s

5015.jpg; Pentax *istD; 18-55mm lens with polarizing filter; F/6.7; 1/125s

5016.jpg; Pentax *istD; 18-55mm lens with polarizing filter; F/6.7; 1/60s

Image number 5014 has red that is closest to that in the course book.  This photograph had been exposed using the settings recommended by the camera.

Purple (Secondary Colour)

5023.jpg; Pentax *istD; 18-55mm lens with polarizing filter; F/6.7; 1/125s

5024.jpg; Pentax *istD; 18-55mm lens with polarizing filter; F/6.7; 1/180s

5025.jpg; Pentax *istD; 18-55mm lens with polarizing filter; F/6.7; 1/90s

Image number 5023 has purple that is closest to that in the course book.  This photograph had been exposed using the settings recommended by the camera.


Blue (Primary Colour)

5041.jpg; Pentax *istD; 18-55mm lens with polarizing filter; F/5.6; 1/250s

5042.jpg; Pentax *istD; 18-55mm lens with polarizing filter; F/5.6; 1/350s

5043.jpg; Pentax *istD; 18-55mm lens with polarizing filter; F/5.6; 1/180s

Image number 5041 has blue that is closest to that in the course book.  This photograph had been exposed using the settings recommended by the camera.

Green (Secondary Colour)

5029.jpg; Pentax *istD; 18-55mm lens with polarizing filter; F/6.7; 1/45s

5030.jpg; Pentax *istD; 18-55mm lens with polarizing filter; F/6.7; 1/60s

5031.jpg; Pentax *istD; 18-55mm lens with polarizing filter; F/6.7; 1/30s

Image number 5030 has green that is closest to that in the course book.  This photograph had been underexposed by half a stop.  This underexposure also gives a brighter, more saturated colour.

What have I learned from this exercise?

Finding pure colours in the natural world is very difficult.  Secondary colours can be thought of as mixtures of the primary colours.  Green is a colour that appears in extremely varied tones.  Orange is a mixture of red and yellow, and has some of the fiery, intense qualities of red as well as some of the brightness of yellow.  Violet is between red and blue, a rich, deep and subtle colour.

The three main characteristics of colour are hue, tone and intensity.  Hue is the actual colour wavelength, such as red, green or blue.  Tone refers to the gradation of the light and shade of a colour; tone helps to give the subject form.  Intensity is the saturation of the colour, or how pure it is.

Colour has an emotional as well as a visual impact on the viewer.  By using colours consciously you can change how the perspective appears in an image.  Warm shades of red, yellow and orange advance in the picture frame, for example, while cool shades of blue, green and cyan recede. 

Photography 1: The Art of Photography

Project: What makes a colour
Exercise: Control the strength of a colour

For this exercise I chose a brightly coloured shirt and photographed it outside.  The photographs were taken in bright morning sunlight.  A polarizing filter would have helped to increase the colour saturation.

The first photograph, (7558) was taken using the settings suggested by the camera.  Two photographs were taken either side of this setting, changing the exposure by one F-stop each time.  The sequence of exposures was as follows:

1/125 sec at f10, f11, f13, f14, f16.

The images produced are shown below:

7560; Nikon D300; 18-105mm lens; 1/125s; F10

 

7559; Nikon D300; 18-105mm lens; 1/125s; F11

7558; Nikon D300; 18-105mm lens; 1/125s; F13

7561; Nikon D300; 18-105mm lens; 1/125s; F14

7562; Nikon D300; 18-105mm lens; 1/125s; F16

What have I learned from this exercise?

The photograph taken using the settings recommended by the camera gives a reasonable rendition of the colour of the shirt.  Using a polarizing filter would help to eliminate some of the reflection of the sun from the cloth.  This would very likely have produced a more saturated colour in the photograph.

Increasing the amount of light entering the camera, by reducing the F-number has resulted in a certain "bleaching out" or the colours in the photograph being less saturated.  Conversely, reducing the amount of light entering the camera by increasing the F-number has resulted in the colours in the photograph appearing to be richer and stronger or more saturated.

Colour can define form, set a mood and evoke emotion.  Colour in the landscape can tell us the time of year and the time of day.  It has the ability to make us feel cold, warm, happy or sad.  Yellows and oranges evoke feelings of warmth and well-being, blues chill and reds blaze.  Colours can pick-up (or bring-down) the mood of a photograph.

Photography 1: The Art of Photography

Project: Rhythm and Pattern
Exercise: Rhythms and Patterns

For this exercise I looked for situations that would convey rhythm or pattern.  The rhythm photogragh needs to have a sequence so that the eye will follow a direction and experience an optical beat.  The pattern photograph needs to have no boundaries to the pattern.  Patterns work strongly when they fill the frame, so that the eye can imagine them continuing  well beyond it.

6195.jpg; Nikon D300; 18-70mm lens; F14.0; 1/50s

This photograph features a row of statues in Madrid.  They lead the eye towards a statue  at the end of the row.  The spacing of the statues forms an optical beat.

6202.jpg; Nikon D300; 18-70mm lens; F16.0; 1/80s

The brickwork in this photograph form a number of patterns.  The patterns in the brickwork fill the frame, so that the eye can imagine them continuing well beyond it.

What have I learned from this exercise ?

Repetition has a peculiar but generally very strong appeal, particularly when it is unfamiliar to the viewer.  There is a visual beat to pictures containing a repetitive theme.  Visually, repetition comes across in in two ways: as rhythm and as a pattern.  The difference between them is that rhythm is to do movement across a picture while pattern is essentially static and has to do with area.

For photographs of pattern, care must be taken with the framing.  Show no boundaries to the pattern.  Patterns work strongly when they fill the frame, so that the eye can imagine them continuing well beyond it.  Repeating patterns can be very powerful and stimulating to the eye.  For this reason images that use repeating patterns are quite successful.

Photography 1: The Art of Photography

Project: Shapes
Exercise: Real and implied triangles

For this exercise I produced two sets of images using triangles in the composition.  One set using "real" triangles and the other using "implied" triangles.

Real Triangles

1798.jpg; Pentax Optio A20; F2.8; 1/60s

In this photograph the roof of the church forms a triangle with the apex at the top.  There are many situations where triangles are used in buildings as it is a very stable shape.

4945.jpg; Pentax *ist D; 18-55mm lens; F22; 1/60s

 This image was taken with the wide angle setting of the lens, (18mm).  A triangle is created by the upward tilt of the camera.  This has caused the building's vertical lines to converge into a triangle.

4947.jpg; 18-55mm lens; F22; 1/125s

In this image a triangular structure is formed by the fence line and the line of the gorse on the hillside.  The triangular structure is strengthened by the upward tilt of the camera and the wide-angle lens setting.



Implied Triangles

7508.jpg; Nikon D300; 18-105mm lens; F18.0; 1/15s

This still-life arrangement made using Chinese coins forms a triangle with the apex at the top.

7510.jpg; Nikon D300; 18-105mm lens; F18.0; 1/20s

This still-life arrangement forms an inverted triangle with the apex at the bottom.

Pentax Optio A20; F2.8; 1/40s

This arrangement of three people in a group are arranged in such a way that their faces imply a triangle with the apex at the top.


What have I learned from this exercise?

A shape is both an outline and an enclosure, although the extent to which it appears as one or the other depends very much on the subject and the lighting.  Shape, ultimately, defines an object but it can also be implied.  In a photograph, the more regular a shape appears, the stronger the part it plays in the composition.

Contrast, either of tone or colour, also helps to decide whether a shape will be important in a picture.  It is nearly always contrast that makes a shape stand out.

The different basic types of regular shape are, in fact, just three: triangles, rectangles, and circles.  The simplest and the most valuable in composition is the triangle.  Simple because it has the smallest number of sides and corners.  Valuable because the diagonals it contains tend to create a sensation of activity and dynamism.  It can also often appear to be "pointing", and so induce a sense of movement.

A definable shape organises parts of a picture, and one of the fundamentals of design is to provide a structure to an image.  Because a shape has a tendency to enclose, it helps to make groups of things cohere.

Designing an image is like putting together pieces of a jigsaw puzzle - if one element is either missing or in the wrong place the final result will fail.  Good light is of course essential but equally an image with fantastic lighting on an unstructured subject will not hold together.

Photography 1: The Art of Photography

Project: Using lines in composition
Exercise: Implied lines.

For this exercise I looked at the two images given in the exercise and found the implied lines in each and showing them as red lines on each image.

In this image there are two implied lines.  There is a curved line that follows the line of scraped sand of the bullring.  There is also an eye-line from the matador towards the bull.

In this image there is an extension of a line for the intended path of the two horses.  There is also an eye-line between the front horse and the trainer.

I then looked at three photographs of my own and analysed them for implied lines.  The three images are shown below.

In this image there is an implied line formed by the parked cars in the car park.  The eye follows the line into the distance.

In this image there is an extension of a line in the direction of the travel of the boat.  There is also an eye-line between the pace keeper and the rowers.

In this image there is an implied line formed by the line of gondolas of the cable car.

In the next part of the exercise, I took two photographs that used an eye-line and/or an extension of a line, or lines that point.

In this image there are two extensions of a line formed by the direction of travel of the white van and the cyclist.

In this image there is an eye-line between the observer and the roof of the shed.


What have I learned from this exercise?

Implied lines can be used to subtly direct the viewer's attention.  This helps to organise a picture in such a way that another person will be encouraged to look at it in the way you want.  Implied lines are especially valuable because they are partially hidden, and so they can work in the manner of small nudges to the attention.

Photography 1: The Art of Photography

Project: Lines
Exercise: Curves

Curves, like diagonals, have a sense of movement and direction.  Because they pull the eye, they are useful in a planned composition.  Curves have associations with smoothness, grace and elegance, and so add these feelings to an image.  For this exercise I looked for and took four photographs using curves to emphasise movement and direction.

1772.jpg; Pentax Optio A20; F2.8

The line of parked cars in this photograph leads the eye into the image.  The curve imparts some movement to the image.

1774.jpg; Pentax Optio A20; F4.3

In this image the concentric lines of the roadway, railings and the avenue of trees reinforce each other.  A strong sense of movement is felt.

1778.jpg; Pentax Optio A20; F2.8

In this image the spiral shaped topiary add grace and elegance to a otherwise static composition.

1780.jpg; Pentax Optio A20; F4.3

The curve formed by the line of the branch of the tree in the photograph helps to lead the eye in an upwards direction.  It also adds some movement to the image.


What have I learned from this exercise?

Curves, because they pull the eye, are useful in planned composition.  Curves have associations of smoothness, grace and elegance, and add these feelings to an image.  An S-shape or winding curve is very appealing to the eye and creates natural balance.  It is ideal for leading the viewer through the image, passing all the elements you want them to notice along the way.  The most obvious examples are curving paths, roads or rivers, but it is also possible to obtain the same effect using the more subtle curves and S-shapes made by light and dark areas in a scene.  Shadows cast from the natural contours of the land will direct the eye through the frame, as will the placement of objects that follow a curving line.