Ex 1: Control The Strength Of A Colour
Building a Library of Colours
Building a Library of Colours
Ex 2: Primary and Secondary Colours
Colour Relationships
Colour Relationships
Ex 3: Colour Relationships
Black and White
Black and White
Ex 4: Colours Into Tones in Black and White
Ex 1: Control the Strength of a Colour
This exercise is to photograph a subject with a strong definite colour with a sequence a five different exposures.
The first exposure is to be one stop brighter than the reading given by the cameras meter. Each subsequent photograph with have a compensation of half a stop lower.
Observations should be noted.
This set of photographs were taken outside of the Clacton Lifeboat Station. The camera was set to take photographs as RAW files and jpegs. The images below are from the jpegs which are the cameras interpretation of the RAW files. Apart from resizing, the images have not been adjusted at all.
As expected the images differ in brightness. The larger the aperture the more light enters the camera creating a brighter image. It also decreases the depth of field but as the subject was relatively flat this was unaffected. The photographs to the right have deeper tones of blue (as the brightness falls) and the highlights aren't as distracting as the images on the left. The image in the middle represents the Hue and Brightness of the door accurately.
ISO 125 1/100
Ex 2: Primary and Secondary Colours
For this exercise scenes dominated by the primary and secondary colours need to be photographed. Each scene is to have three photographs at differing exposures: as per the cameras meter, one stop lower and then finally one stop higher. A total of eighteen photographs are required.
One of the three will more closely match the colours in the circle below. Select whichever is the closest match.
One of the three will more closely match the colours in the circle below. Select whichever is the closest match.
The image with an aperture of f6.3 shows the hue closest to the green above. It also represents the colour of the bin in it's true form too. I think because pattern metering was used the camera's exposure was too light. The camera would take an average over the whole scene and adjust it to an average reflectance of 18% grey .
Yellow
The closest match to the colour wheel would be the image taken with an aperture of f4.5. Though this is still darker than the hue of yellow in the wheel and of the subject in real life. Pattern metering was used again for this image and again I feel the camera has made adjustments too dark. Though any brighter and information in the sky would be lost.
Orange
The second image in this sequence is closet to the colour wheel. Though in reality the first one in the sequence is truer to the subject. Patter metering was used for this set of images and was successful for results this time.
Red
I was able to fill the whole frame with red in this sequence, pattern metering was used again. The closest match to the colour wheel is the third one which was also closest to the hue of the paint on the ship.
Violet
As this image had such a dark background I used spot metering for this set of photographs. The hue in the colour wheel is similar to image three (F11).
Blue
Again, this photo was taken with pattern metering. I think the third (f8) is closest to the colour wheel.
Ex 3: Colour Relationships
This exercise is in two parts:
Part 1: To produce a photograph for each combination of primary and secondary colours in the following proportions.
- Red: Green 1:1
- Orange: Blue 1:2
- Yellow: Violet 1:3
It took me a long time to find the correct colors in the correct proportions. It took a lot longer than anticipated. I went out on quiet a few occasions and came back with images unsuitable and often nothing to do with this exercise.
In the end I got the images I needed, even if the locations were 300 miles apart.
Red - Green
In the end I got the images I needed, even if the locations were 300 miles apart.
Red - Green
Orange - Blue
Yellow - Violet
Part 2: To produce three or four photographs that feature colour combinations that appeal to me. They can be any combination.
I am to be aware of any imbalances and make a note of it.
Green - Yellow
Similar Colours:
Though the colours are not as bright as most examples on this page. Being next to each other on the colour wheel makes them similar. The diagonal lines of yellow colour are twice as thick as the lines of green.
Yellow - Blue - Orange
Contrasting Colours:
The yellow dominates in brightness and ratios in this image. The orange and blue compliment each other almost in the ratio of 1:2 but is contrasted by the yellow. This to me causes unrest amongst the trio of colour.
Blue - Orange
Complimentary Colours:
In proportions opposite to the ratios assigned by Goethe. This turns the blue into a colour accent that is held in place by the intersection of the vertical and diagonal lines.
Contrasting Colours:
Though the green and red are complimentary, the yellow against the red creates tension and are contrasting.
Contrasting Colours:
The yellow dominates in brightness and ratios in this image. The orange and blue compliment each other almost in the ratio of 1:2 but is contrasted by the yellow. This to me causes unrest amongst the trio of colour.
Blue - Orange
Complimentary Colours:
In proportions opposite to the ratios assigned by Goethe. This turns the blue into a colour accent that is held in place by the intersection of the vertical and diagonal lines.
Green - Red - Yellow
Contrasting Colours:
Though the green and red are complimentary, the yellow against the red creates tension and are contrasting.
Ex 4: Colours Into Tones in Black and White
If using a digital camera I am to take one exposure of a still life (containing grey card) and make five versions of it using different settings within Photoshop. A straight conversion to Black and White. One with each of the following coloured filters: Red, Green, Yellow and Blue. Six photographs in total.
I have repeated this three times. The first time using a digital camera and showing the conversions as slices so that the different tones are easier to view.
The second Set is of coloured water and converted in the computer.
The final set is from a film camera loaded with black and white film, traditional filters were used and only white balance has been used after the images were scanned into the computer.
All the sets are similar whether taken digitally and converted within the computer or taken with a traditional film camera.
Digital:
I have repeated this three times. The first time using a digital camera and showing the conversions as slices so that the different tones are easier to view.
The second Set is of coloured water and converted in the computer.
The final set is from a film camera loaded with black and white film, traditional filters were used and only white balance has been used after the images were scanned into the computer.
All the sets are similar whether taken digitally and converted within the computer or taken with a traditional film camera.
Digital:
Film:
Reflection
I have severely underestimated my ability to see colour for too long. Day to day I have no reason to consciously think about the colours I see and so quite often I forget that potential problem exists . While being aware that my colour perception was below normal I was not aware how much I was taking for granted and how much I actually saw. Because I am able to see colours individually I assumed that as long as I approached the work in a methodical manner then I would be able to work through the exercises without any problem. As the exercises needed combinations of colours this is where I found the biggest challenge. For me as colours are layered next to each other they start to blend, and quiet often I have to resort to looking at textures to define a change in the surface of an object if it has may colours.
I have severely underestimated my ability to see colour for too long. Day to day I have no reason to consciously think about the colours I see and so quite often I forget that potential problem exists . While being aware that my colour perception was below normal I was not aware how much I was taking for granted and how much I actually saw. Because I am able to see colours individually I assumed that as long as I approached the work in a methodical manner then I would be able to work through the exercises without any problem. As the exercises needed combinations of colours this is where I found the biggest challenge. For me as colours are layered next to each other they start to blend, and quiet often I have to resort to looking at textures to define a change in the surface of an object if it has may colours.
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