“Colour is the emotional hue of our subconscious”
Colour, or the choice to use black and white, is possibly the most over-riding factor in a successful image. However, with so many variables that make up what constitutes colour, it can become the most challenging element to master as a photographer, both in taking images in the field and in post-processing. This blog attempts to tease out the main issues, giving examples from my portfolio, to illustrate some of the basic considerations. I acknowledge the source of much of this analysis originating from Alister Benn’s e-book “The colour of meaning” from which I have freely drawn: indeed all the quotations are his.
https://expressive.photography/education/the-colour-of-meaning/
The context of nature
“The landscape talks, and we listen”
In landscape photography, sensitivity to the natural colour of a scene, and possible modifications to add mood, atmosphere or other effects in post-processing can make or break an image, either attracting a viewer or at worst, confusing or putting them off. Finding the optimum balance with making alterations to colours while maintaining the context of nature is a refined skill that takes time to develop. In this panorama image, the colours have either been over- or under-processed: the sky is too blue, the greens of the bushes and grass are too homogenous, and the sunset highlights on the left-hand bushes and grass are too pale. The overall effect does not “feel” natural and the viewer may therefore disengage.
The emotion of landscape
“Feeling is our best friend, our only true ally, and is the path to true aesthetic appreciation and creativity”
When we stand in the landscape, there are certain views, subjects or vistas that capture our attention: a waterfall, a sunset, a hill scape. As a result, we feel one or more emotions – joy, sadness, confusion, confidence, awe, peace etc. The art of photography is the expression of whatever emotion we feel when immersed in that moment, and our perspective is a function of many variables - our beliefs, thoughts, emotions, experience, learning etc. So in attempting to articulate that moment, there are two primary variables that we must identify in ourselves to see where we lie on this “emotional articulation” spectrum:
o Motive: This is why we are out in the landscape trying to make photographs
o Intent: this is what we are trying to achieve with those images once they are made.
The appropriate use of colour - or absence of it - can express and emphasise that emotion in an attempt to connect with the viewer in a powerful way, so that they understand something of our experience at a deeper level.
Colour, luminosity, saturation and contrast
“Colour is the emotional hue of our subconscious”
It is known that some colours are brighter and more eye-catching than others e.g. yellows, reds and oranges can highlight certain areas of an image that might otherwise might be quite sombre.These are called “advancing colours”. Simply increasing or decreasing luminosity by adding or reducing one stop to an image changes the luminosity and “feel” of an image. Similarly, other colours are “receding colours” i.e. greens, blues and violets. Generally, we’re drawn to a more luminous subject. Richness of luminosity, contrast and colour all have a bonus result of three dimensionality and depth being enhanced in the image, reducing the flatness that otherwise might occur. Colours with full brightness and varying levels of saturation will feel light, airy, and colourful, whereas colours with decreasing saturation and brightness will feel dark, and eventually “dingy” if taken too far.
This trio shows the originally processsed image in the centre, less saturation and more luminosity to the left, and more saturation and less luminosity to the right. Each gives a different effect and sets a different mood i.e. the “emotion” of the landscape. There is no right or wrong: the final chosen effect depends either on what the photographer “saw” in the field, or what evolves during the post-processsing process.
Colour theory and the colour wheel
Colour theory is essentially about making a combination of colours look great together. It is the technique of combining specific colours in a way that is harmonious rather than dysfunctional or unrealistic. Colour contrasts are powerful triggers to our engagement and being open to variances of hue is an important skill to have. Primary colours are red, yellow and blue: secondary colours are orange, green and purple. The colour wheel is simply a tool that illustrates the relationships between 12 different colours around a circle, indicating which go best with which, depending on the colour of the main subject. There are a number of different possible colour relationships - here are three main ones:
Complementary colours are those that are opposite each other on the colour wheel. Here, the greens and browns complement each other in a harmonious and natural composition.
Analogous colours are those next to each other on the colour wheel. The striking red stripe on the wooden lighthouse structure complements the sandy brown colours of the wet beach as the tides recedes, emphaised further by the dark grey clouds above.
Monochromatic colours are typically black and white, although different tones of another colour can be used to enhance a particular effect. Here, the same shot is shown as a black and white image which is perfectly accpetable. However, tinted blue, it reflects both the cold of the snowy morning and the very early morning light. There are many other combinations of colour, making this a complex area to master as different colours impact different situations or give various effects e.g. split complementary; diadic; triadic; and quadratic.
Summary
The whole subject of colour is complex and I’ve only scratched the surface here: this is one area that requires continued focus and concentration, and I’m only really starting on this journey. While much of this can be intuitive i.e. what “looks” or “feels” right, understanding some of the theory behind what loooks right can also help to create visually appealing and impactful images.