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.

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.

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.

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.

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.

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.

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

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. Contrast, lines, shapes, patterns, and textures create unity and/or balance when used strategically.

High Key

High-key images illuminate tones of light to white. A high-key photograph, which consists primarily of light gray values, lends itself beautifully to capturing poetic moments. High-key photographs can be soft, evoking hopeful, angelic, and spiritual emotions. Light streaming through an opened window, shadows falling on a white lace curtain, a field shrouded in a foggy mist, and a baby dressed in white are all scenarios that bring high-key possibilities to the mind’s eye.

To create a high-key photograph, exposure compensation is required. There are several ways to accomplish a properly exposed high-key image. The important factor is to expose for the 12 © Cheryl Machat Dorskind All Rights Reserved ALL ABOUT COLOR Lesson Three highlights. It’s better to have all the detail recorded in the light tones and the shadow rendered dark than vice versa. This is because it is much easier to rescue details in a darkened area, whereas the information will be clipped and irretrievably lost if you overexpose the highlights.

There are 4 options for exposing properly to create a high-key image.

1. Meter off a gray card

2. Take an incident meter reading using a hand held light meter

3. Using the camera’s meter, take a reflective exposure reading and then open up one or two

stops

4. Use your camera’s meter having preset the exposure compensation dial to +1 or +2

Low Key

A low-key photograph consists primarily of black and dark gray values, which often create a dramatic mood. Low-key photography has its roots in Renaissance painting. Light became a powerful actor playing on color, tone, and space. Low-key images are based upon the principles of Chiaroscuro. Rembrandt, a Dutch painter born in 1606, is considered “the greatest of the great.” Rembrandt was influenced by his infamous predecessor, Carravaggio, a short-lived

Italian painter (1578-1635), who was later charged with murder and died a pauper. Nevertheless, his paintings influenced the Renaissance painters and his artwork is still revered by scholars and art enthusiasts today. Carravaggio’s revolutionary technique of tenebrism—the dramatic selective illumination of form out of deep shadow—became a hallmark of Baroque painting.

Today, Rembrandt is considered one of the most admired Baroque painters. Intensified by juxtaposing alternating warm and cool colors, Rembrandt’s brilliant use of light illuminates faces, jewels, and rich fabrics within his limited and somber but richly earth-toned palette. In

13 © Cheryl Machat Dorskind All Rights Reserved ALL ABOUT COLOR Lesson Three portraiture, a combination of Butterfly or Paramount lighting and short light yields Rembrandt lighting. The characteristic sign of Rembrandt lighting is the triangular highlight under the eye that is in shadow.

Lighting Ratios A 1:1 ratio, called flat lighting, indicates there is no shadow. At a 2:1 ratio, the light side is twice as bright as the shadow side, producing visible soft shadows; there is a one-stop difference. A 3:1 ratio produces a 1 and 2/3-stop difference, and detail is still obvious in the shadows. A 4:1 ratio reflects a 2-stop difference between highlights and shadows and produces noticeable shadows with detail and texture maintained (if you are a good printer). At an 8:1 ratio, the contrast reflects a 3-stop difference; the shadows are rendered “harsh” or black.

Lighting Ratios

Lighting ratios define lighting in general and also signify personal style. While some photographers create dark, mysterious portraits, others might prefer flat lighting. When evaluating a scene for high-key, low-key, or high-contrast potential, consider the lighting ratios.

To measure, meter both the highlights and shadows and compare the difference using the above chart as a guide. To understand what a stop means, you’ll need to acquaint yourself with the

14 © Cheryl Machat Dorskind All Rights Reserved ALL ABOUT COLOR Lesson Three standard sequences of aperture and shutter. While the progression is readily apparent with shutter speed, because of its numerical labels, apertures are harder to recognize and remember.

Photographers often refer to an aperture as an f-number and the photo jargon is “f-stop.” Newer electronic cameras now divide f-stops and include ½ and 1/3 stops. To understand lighting ratios and interpret the information, a photographer must know what constitutes a full stop.

Shutter Full Stops ½ stop 1/3 stop 1/2000 1/3000 1/2500 1/1500 1/1600 1/1000 1/1500 1/1250 1/750 1/1600 1/500 1/750 1/640 1/350 1/400 1/250 1/500 1/320 1/180 1/200 1/125 1/180 1/100 1/90 1/80 1/60 1/90 1/50 1/45 1/40 1/30 1/45 1/25 1/22 1/20 1/15 1/22 1/20 1/12 1/13 1/8 1/12 1/10 1/6 1/7 1/4 1/6 1/5 3/8 5/16 1/2 3/8 7/16 3/4 5/8 1 3/4 7/8

ISO Whole Stops 100 200 400 800 1600 3200

Exposure

A proper exposure is the hallmark of quality photography. To capture accurate exposures of high-key, low-key, and high-contrast scenes, it is best to use manual exposure mode. Rather than assuming that you can fix anything (improper exposure) with photo editing software, focus your time and energy on capturing quality images from the get-go. Exposure is based on ISO, aperture, and shutter. While digital photography is a precision technology, tricky lighting situations such as high-key, low-key, and high-contrast require fine tuning.

Bracketing

When photographing high-key, low-key, or high-contrast images, it is best to bracket. Bracketing provides additional exposures of the same subject. It helps fine-tune exposure, providing “got it” insurance. The digital film sensor is extremely sensitive to contrast and has small exposure latitude. Digital film permits only a small margin of error; this is known as narrow exposure latitude. The exposure latitude of a well-exposed digital image is +/- 1/2 of a stop, which isn’t very much. Therefore accurate exposure is critical. Sometimes, bracketing is not possible for example, when photographing a young child or a sporting event. Nevertheless, as a rule, your motto should be, “if in (exposure) doubt, bracket.”

An exposure is only as good as the accuracy of where you’re pointing the camera. Consider the scene and point your camera in the direction of the most important area or use an incident meter to fine tune your exposure calculations. Bracketing provides a safety net for mistakes. Any three of the exposure variables—aperture, shutter, or ISO—can be bracketed while the other two factors remain constant. Which factor varies depends upon your intent. For instance, if I were

17 © Cheryl Machat Dorskind All Rights Reserved ALL ABOUT COLOR Lesson Three creating a scenic vista and wanted all portions of the picture (foreground, middle ground, and background) to be depicted in sharp focus, I would maintain a constant small aperture (such as f/16, which renders great depth of field). Instead, I’d vary one of the other two factors. Because I do not want to deal with noise (which is a by-product of a fast ISO sensitivity). I will vary my shutter. Working in low light with a small aperture reminds me that I must use a tripod to avoid camera shake.

For digital photography, I recommend bracketing with +/- 1/3 or 1/2 stop increments instead of with full stops. Bracketing is possible with manual exposure mode or auto bracketing. For manual bracketing, first establish a meter reading and then adjust either your shutter or aperture for additional exposure values. Variations change in 1/3 or 1/2 stop increments (depending upon your camera). Typically, you’ll first capture an image with the camera’s exposure. Next, you’ll capture a second image and expose 1/3 or 1/2 stop (+) more light. The third frame will be an image with 1/3 or ½ less light (-) than the camera’s meter reading. If I were photographing a scenic landscape, for example, and my camera’s meter provided me with an exposure value of f/11 @ 1/250 (image #1), I would use manual exposure mode to capture two extra shots with the following exposures: f/11 at 1/320 (+ 1/3) [image #2], and f/11 at 1/200 (-1/3) [image #3]. When working with manual bracketing knowledge of full stops, 1/2 stops, and 1/3 stops is essential for accuracy. Many cameras include an auto bracketing function (often indicated with the stacked paper icon) with either 1/3 or 1/2 stop increments.

Using the Histogram

In addition to using a light meter (in your camera or an incident, hand-held meter) to determine exposure, you’ll also want to consult your camera’s histogram to make sure you are recording the highlights and shadows as you would like. While you can shoot RAW, you cannot assume that you can fix the exposure if you are shooting extremes such as high-key, low-key and high- contrast. It would be better to get the exposure right from the start.

Histogram

The same type of graph is available with your camera software and can be displayed on the LCD. In the picture above I indicated a white point and black point which are circled in pink.

A histogram is a graph detailing the values of the pixels in the image. The spread across the base details the frequency of darks to light and range in numbers from 0 to 256. Zero (far left) refers to pure black, 128 to middle gray, and 256 (far right) to pure white. While you camera’s histogram will not label the frequencies, knowing the parameters will help you recognize and evaluate the graph. You can not rely on your LCD, because most pictures look good, even when the exposure is very poor.

Histogram with Tonal Adjustments Color_L3_15 Notice how the histogram now illustrates spikes which are created when applying tonal adjustments when using Levels and Curves.

Should you create Black and white in RGB?

Should you create black-and-white images in grayscale or RGB? That answer is based upon your photo editing experience. Students who are unfamiliar with photo editing techniques and those who do not know what RGB means would be better off shooting with their black-and-white

RGB and convert later. Adobe Lightroom and Photoshop CS3 make the conversion process easy.

Color Now let’s revert back to the spectra colored world and try abstracting the environment as we have learned in the black and white portion of the lesson. The same visual tools also help create compelling color photographs with three-dimensional illusion, but the rationale is different.

High-key images are more difficult to create in color digital photography than are black-and- white one. While high-key black-and-white images are often seen as luminous and graphic, high- key color digital images often look washed out.

Digital photography tempts us to overuse color, but oftentimes, limiting the color palette will actually have a more striking effect. The trick is to find an environment that has monochromatic tones that are light to white.

This is an example of a monochromatic color scheme and a low-key photo

Monochromatic color photographs can create evocative moods. While by definition monochromatic means one color, for the purposes of this class we will explore monochromatic scenes in which the colors alchemize into one. Even though there is more than one hue in the photograph, the sum of effect is one color. Because monochromatic simplifies a composition, the reaction is often more intense and often evokes a sense of time and place.

Weather and time of day will have a great impact upon some of the design elements. For example, when creating high-key color images, you might want to work early in the morning or during inclement foggy weather. Snow and ice also help create beautiful high-key pictures.

All About Color Assignment 3

Objects are created in our mind's eye by the shapes and colors that define them. Colors, in turn, are defined by light, refraction, and juxtaposition. Photographs paint with light, connecting the outlines (lines, shapes, and patterns) and surfaces (texture) with color (including black and white).

For assignment 3, create photos that tell an emotional story. In selecting the themes, focus on lines, shape, patterns, and texture. Consider colors emotional and narrative power and incorporate these messages into your imagery.

The subjects can be the colors themselves, filling the frame as abstract lines, shapes, patterns, or texture, or documented in an environment, such as a landscape, a garden, or cityscape (naturally rich with geometry). Additionally, the images can be created in a studio setting (product shots, portraits).

If you are going to be creating black and white imagery, consider how the light and tones of gray, white, and black add to the message. Also consider toning the b/w images to drive your message home (sepia for warm mood, blue for cool tone).

For those students who would like a more specific task (less conceptual), photograph subjects that feature the following categories:

• Line • Shape • Pattern • Texture • High Key • Low key

Reflect upon what makes a strong composition as you photograph and in the captions discuss the manner in which lines, shapes, texture, and patterns create the composition where the essential element is color.

Submit your best three photos!