The Strength of Color and how it relates to photography

March 25, 2014  •  Leave a Comment

Mastodon Colors in a photograph can affect the mood of a scene and how we interpret it. They can be described as calming, exciting, placid, bright, brilliant, or dull. Well positioned within a frame, the colors alter how the photograph is perceived. Furthermore, they can be enhanced through saturation, hue, and luminance. This allows the photographer to change the characteristics of individual colors to strengthen the composition.  In addition, the "raw" digital photograph that begins in color, can be converted to Black and White by removing the colors and adjusting the luminosity values, but that is an entirely different discussion.

A Master photographer must know the way colors interact with the audiences eyes. Any adjustment in the intensity of light brings about a shift in color and how it is perceived. If the position or angle of light changes, whether the source is reflected or direct, the colors in the scene will change. The master photographer will recognize these changes to improve the work and subject matter.

Color in an image can help to generate a "feeling" in a photograph and an emotional response ranging from fear, to love, to anger or happiness. An image that has a blue cast is representative of a sad, gloomy, or somber mood, while red is perceived as causing an angry, antagonized, or irritable mood.

  We're AllWe're AllThe coastline in Jupiter, Florida produced a wonderful dawn. This location is called Coral Cove Park.

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<a href="http://fineartamerica.com/art/photographs/green/all" style="font: 10pt arial; text-decoration: underline;">green photos</a>

 


Am I done learning from others? Sort of!

February 18, 2014  •  Leave a Comment

I am an advocate of learning as much as you can about various photographic techniques and from individual photographers as possible. All this learning leads to something wonderful, the development of your own unique vision of how an individual perceives the world around him through photography.

Speaking for myself, I always strive to learn different skills and methods. I received most of my instruction from Vincent Versace, Lee Gordon, Jack Wild and Andy Cook. In addition, I have read lots of books on photography.  With my particular combination of instructors and books, I have created and melded them into my "own style." It is not so unique, but it works for me! I love learning new techniques, which allows me to add another tool to the belt. I might not use the new method, but it usually allow me to complete my task in a different way. Maybe I will combine it with a different method or not. It allows me to be more creative as an artist. Recently, I took my 3rd workshop with famed photographer and author Vincent Versace on "Mastering Black and White Techniques." Although the week long class was extremely informative and the instructor was very forthcoming with information, I won't use his exact techniques. Why?  Well, I had an epiphany this week. I tried using his techniques on my own and realized that his way might be easier and more detailed, it is not my way. I see landscape photography world slightly different. And, I like to see it my way.  I see the world differently than him or any other photographer. I will always see it differently.I was extremely impressed by Versace's style and may incorporate a few of his methods with my own "style."

What I took away from the course is that a photographer should take advice from others, learn from others and incorporate those techniques or views and make it their "own."

 

<a href="http://fineartamerica.com/art/all/waves/all" style="font: 10pt arial; text-decoration: underline;">waves art</a>

 


When do I "break the rules?"

February 03, 2014  •  Leave a Comment

Shadows on the MountainShadows on the MountainThis image was photographed on one of the roads in central Iceland.

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The rules of composition were established by the Masters of Art( Davinci, Michaelangelo) eons ago. These rules were used to create a journey in an image and to keep the viewer captivated. The masters wanted to keep their audience from looking away from their art.

Some examples of rules are: The horizon line in the top 1/3 or bottom 1/3 of the image; The main subject of the image should not be centered; The image must have balance between light and dark; The horizon must be level( no weird angles) ; The eyes of the main subject should look into the middle of the image( not look out).

 

So, when do I break the rules? I don't! I prefer to keep things simple in my photographs and take the viewer on a journey. I want their eyes to travel though out my photograph, have a main subject or resting place, and then continue to observe different aspects of my image.

If I were to "break the rules," I would place my horizon in the middle of the image or place my subject in the center of the picture. Or, I would use extreme odd angles. But extreme angles in Landscape Photography make the viewer feel like they are falling off the page!

Breaking the rules usually created some unknown tension for the viewer, which I don't want to do. I want to create a sense of place.

 

 

<a href="http://fineartamerica.com/art/photographs/scenics/all" style="font: 10pt arial; text-decoration: underline;">scenics photos</a>


What is a reflection and How I use it!

February 03, 2014  •  Leave a Comment

Light on the PeakLight on the PeakThe light just hits the peak of the mountain at Bow Lake in Banff National Park, Canada. The reflection of the mountain shows a slight hint of light from the peak during sunrise.

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Webster's dictionary defines reflection as an image that is seen in a mirror or on a shiny surface. It is the return of light or sound waves from a surface. The light that is not reflected is absorbed by a surface. A majority of objects absorb some light that hits them. When the object completely absorbs the light, the surface is black. A surface that is white will reflect all wavelengths of color. The characteristics of the surface will determine what wavelengths of light that are present or absorbed. Based upon this, the suface will have different values of color.

Angle of perspective is also an important aspect of color. Depending upon the angle that a photograph is taken from will determine how light will change the surface of the object. The direction and type of light can improve the object being photograph.

 

 

<a href="http://fineartamerica.com/art/photographs/original/all" style="font: 10pt arial; text-decoration: underline;">original photos</a>


The "Feeling" of a Photograph!

February 03, 2014  •  Leave a Comment

There is a difference between a "snapshot" and a photograph that creates an emotional response. They may both might have good compositions and be technically correct, but the latter will create something else. The viewer will have an conscience or passionate feeling about what they see in the image. In other words, the photograph evokes a "feeling."  How does a photographer do this? The photographer must look beyond the "technical" and what is in front of them. They must use their own understanding, intuition, compassion, and humanity to elicit an emotional response from their audience. When achieved by the fine art photographer, the image has "feeling" and creates more than the sum of its parts.  I enjoy listening to music while taking photographs. I see what I hear! My images record that "ultimate crescendo."

 

 

 

<a href="http://fineartamerica.com/art/all/original/canvas+prints" style="font: 10pt arial; text-decoration: underline;">original canvas prints</a> Soul without ColorSoul without ColorI took this photograph at Smuggler's Cove in along the coast in Oregon.

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