ABOUT COLOR Lesson Three
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© Cheryl Machat Dorskind All Rights Reserved ALL ABOUT COLOR Lesson Three ALL ABOUT COLOR Lesson Three From photography’s inception, black and white photography was the norm. Even after the invention of color film, black and white photography was preferred by many photographers. This preference continues to exist today, both in spite of and in deference to the digital revolution. The issue of whether one should create a color versus or a black-and-white photograph is frequently the subject of debate. While it is said that black-and-white photographs are more 1 © Cheryl Machat Dorskind All Rights Reserved ALL ABOUT COLOR Lesson Three artful and timeless, a strong colorful image can powerfully engage the senses. Color has the power to WOW the viewer, whereas black-and-white pictures tend to be more subtler. A black- and-white photograph offers a stripped down version of reality; the absence of color distraction allows the viewer’s attention to be drawn immediately to the subject. Quality black-and-white photographs sneak into your subconscious and can leave lasting impressions. Conversely, the force of color can overpower—easily. For now, let’s go back in time to a period before the invention of color film. Later, with the concepts securely under our belts, we will expand the lesson to include color photography. What Makes a Good Black and White Digital Photo? The camera is not a mirror image of reality; what the photographer sees is not necessarily what the camera interprets, and vice versa. While an artist sees the world in three dimensions— foreground, middle ground, and background—the camera condenses a scene into two dimensions. The goal of the photographer is to fuse the realities and give the illusion of depth to a two-dimensional surface. While a painter creates an environment from a blank scene, the photographer subtracts from reality by determining what to leave out. This elimination process is enhanced by visual design elements especially when working with black-and-white photography, the photographer must first learn to abstract reality. An understanding of the following five design elements will help achieve compelling compositions: contrast, lines, shapes, patterns, and texture. 2 © Cheryl Machat Dorskind All Rights Reserved ALL ABOUT COLOR Lesson Three Contrast Inevitably, the study of art brings us to the study of contrast, and that leads us to Johannes Itten and his comprehensive lessons on color. According to Itten (and many others), contrast is at the heart of a composition. Without contrast, a composition would become boring and monotonous. Contrast creates variety, tension, and excitement. Juxtaposing structural elements in a composition—small against large, old versus new, light against dark, warm colors versus cool colors, horizontal next to vertical—adds life and movement and engages the viewer. Contrast also defines the demarcation of colors and identifies shapes, textures, and patterns. Chiaroscuro One of the most obvious visual contrasts is between day and night, light and dark, black and white. To the fine art painter, Chiaroscuro is one of the most expressive and important means of composition. Chiaroscuro is an Italian term that literally means light/dark and specifically describes the modeling of light in paintings, where the subject is in shadow but illuminated with 3 © Cheryl Machat Dorskind All Rights Reserved ALL ABOUT COLOR Lesson Three strong shafts of light. In its purist form, Chiaroscuro depicts high contrast—the range between the highlights and shadows. This term can be easily applied to high contrast and low-key photography. Chiaroscuro helps render two-dimensional photographs into illusive three dimensional spatial arrangements. Black and white pigments are perhaps the artist’s strongest means of expressing light and dark. The same is true for the photographer, who paints with light (photography is the Greek word for painting with light). Much of European and Asian Art is structured upon light and dark contrasts, as can be seen in Chinese and Japanese drawings. High Contrast High-contrast photographs are ones that have extreme tonal range. They are quite recognizable, as they have only black-and-white tones. High-contrast images have a lighting ratio of 16:1 and 32:1, which is equivalent to a four or five stop, respectively, differential between the highlights and shadows. High contrast can even be the subject itself, and black-and-white digital images thrive on contrast. Silhouettes are often the result from high contrast. 4 © Cheryl Machat Dorskind All Rights Reserved ALL ABOUT COLOR Lesson Three Lines Lines are everywhere, defining everything. Lines create shapes, define contrast, and configure the environment. Contrast plays the biggest role in defining lines visually. Chiaroscuro defines the lines between light and dark. Lines create shapes, and recognizing lines is the first step in learning how to abstract an environment. Lines aren’t really there; rather, we create them in our mind’s eye to help us decode what we are seeing. Like colors, lines have psychological implications and invoke various emotional responses. 5 © Cheryl Machat Dorskind All Rights Reserved ALL ABOUT COLOR Lesson Three Horizontal lines imply tranquility, magnificence, weight, stability, and repose. Horizontal lines are the foundation of a composition; they frame the way we see; they are the fundamental parameter. Vertical lines project pride and dignity, strength and power. They often connote a sense of motion. Vertical lines are typically associated with the human figure and with trees. Vertical lines are the second most relevant component of a composition, they help format the picture. Together, horizontal and vertical lines create equilibrium. They form right angles and balance each other as they join. Diagonal lines create visual movement. Zigzag lines connote and encourage rapid motion. Diagonal leading lines help move the viewer across the picture area and create a dynamic rather than a static image. While horizontal and vertical lines are associated with gravity and symbolize 6 © Cheryl Machat Dorskind All Rights Reserved ALL ABOUT COLOR Lesson Three stability, the diagonal line represents tension and a sense of free falling. Because of these jarring effects, diagonal lines are important composition enhancers. Diagonal lines bring life to a photograph because the lines represent unresolved tension. Curved lines evoke gracefulness and a sense of slow motion. Curves often create rhythm and they are usually associated with elegance and gentle flowing. They are a terrific tool to help guide the viewer’s eye all around the picture. S- Curve The environment, as we see it, exists because of lines. Use these lines to lead the viewer to the subject. Define the lines, use them, break them, or soften them. Find the lines for powerful composition. 7 © Cheryl Machat Dorskind All Rights Reserved ALL ABOUT COLOR Lesson Three Shapes Shapes are often the key structural element of a photograph. Shapes are created by closed lines and are defined by color, contour, value, and texture. Shapes can be categorized as either geometric, natural (trees, humans, etc), or abstract. Shapes usually help the viewer understand the photograph. A closed line defines a shape and shapes can be found most everywhere. Look for bold shapes, curves, and edges for compelling compositions. Using geometric shape psychology, compose your photographs with these hidden messages. The most easily recognized shape in a photograph is the triangle. Containing the smallest number of lines—three diagonals—they can be identified from many directions and help direct the viewer’s gaze. Positioning subjects in triangular formation hints of permanence and often symbolizes thought or intellect. The direction of a gaze implies a line, as does the angle of an arm, the position of the hands, the tilt of the chin, or the creases in a dress. Circles and square are also symbolically rich. Circles generate feelings of relaxation and smooth motion. Squares symbolize substance and gravity. In other words they are grounding elements. 8 © Cheryl Machat Dorskind All Rights Reserved ALL ABOUT COLOR Lesson Three Texture Texture, associated with the sense of touch, creates immediacy. Texture defines the quality of a surface. Texture tells us what the object feels like, describing it as soft, granular, rough, cool, etc. As a general rule, smooth surfaces generate cool sensations, while rough textures enhance feelings of warmth. The soft velvety cheeks of a baby, the rough bark of a tree trunk, and the shiny surface of a still lake all lend a tactile “reach out and touch it” feeling to a photograph. Sidelighting the subject helps emphasize texture. Generally speaking, the greater the intensity of the light and its angle, the more strongly the texture unfolds. Late afternoon light provides a beautiful opportunity to highlight texture. 9 © Cheryl Machat Dorskind All Rights Reserved ALL ABOUT COLOR Lesson Three Patterns Patterns exist when one or more design elements repeat. Patterns are visually pleasing, often decorative design elements that harmoniously unify the composition. Interesting patterns occur naturally; consider the “v” formation of geese in flight, rows of evergreen trees shaped like triangles, and the repeating colors of a rainbow. Shadows and reflections often create compelling patterns. Patterns are waiting to be discovered; it’s up to you as the photographer to see them. The difference between texture and pattern is often subtle. The main distinction is whether a surface evokes a sense of touch or design. Textures create patterns, but not all patterns contain texture as shown in the butterfly image below. Patterns cover an area. Composing a photograph 10 © Cheryl Machat Dorskind All Rights Reserved ALL ABOUT COLOR Lesson Three with a pattern from edge to edge (picture) creates an illusion that the pattern continues beyond the picture. Unity and Balance Successful photographs must be unified or balanced in some way. Even if the desired result is discordant, a composition makes visual sense if the design elements reinforce the focal point or visual message.