Curated Article/Blog

Photography And Color

In the midst of this Travel Shut Down, I have been devoting my time to learning as much as possible about photography. My love of photography crosses a multiplicity of genre.

Whatever the genre, as a photographer we must address the big three; Light, Color, and Composition. For whatever reason my study of color has been limited.

While I am stuck at home I intend to increase my knowledge of this most important subject. The blog below from 500px Blog is my starting point. Check it out!

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Color theory for photographers: An introduction to the color wheel

In 1907, Auguste and Louis Lumière presented autochrome—a revolutionary method for reproducing color in photographs. The world was stunned and enraptured. “Soon the world will be color-mad,” photographer Alfred Stieglitz wrote that July from Munich. “And Lumière will be responsible.”

We’ve come a long way in the last century, and we no longer need potato starch—the crucial ingredient in the autochrome process—to render color. But the power of color hasn’t faded over time; all these decades later, the world is still color-mad.

While you can find color theory in any painting classroom, it remains a somewhat overlooked field in the world of photography, so we’re devoting a three-part series of articles to examine colors and the relationships between them. This is just part one–an introduction to the color wheel–so keep an eye out for the rest in the coming months.

The Color Wheel

A color wheel is just a convenient way of visualizing the relationships between colors. The most common wheel used by painters is based on RYB color system–where red, yellow, and blue are the primary colors. Mix those colors, and you end up with secondary colors orange, green, and violet. Combining those results in one of six tertiary colors: red-orange, yellow-orange, yellow-green, blue-green, blue-violet, or red-violet.

Sometimes, however, photographers might use the RGB system–in which case, red, green, and blue are the primaries. Mixing these colors will create secondary colors yellow, cyan, and magenta. The RGB system also has six tertiary colors: orange, chartreuse green, spring green, azure, violet, or rose.

In this brief introduction, we’ll look at six easy ways photographers can use the color wheel and simple “color schemes” to strengthen their compositions. While photographers can certainly use the RGB system, we’ll rely on RYB for right now.

Monochromatic colors

A monochromatic color scheme uses one of the twelve colors on the color wheel with different tints, shades, and tones. You create a tint by adding white to your base color, a shade by adding black, and a tone by adding gray. Photographers can use these schemes to create harmony throughout a composition.

Puchong Pannoi’s photograph of the ancient city of Bagan in Myanmar has many layers, from temples to trees to a hot air balloon floating in the distance. While these elements could be distracting in the eyes of another photographer, Pannoi has brought them all together beautifully–with a little help from a monochromatic palette.

Monochromatic color schemes can often be bold. According to photography legend, Ansel Adams was once so displeased upon seeing one of William Eggleston’s most famous monochromatic photos that he remarked, “If you can’t make it good, make it red.” Fortunately, these days dramatic color is not only accepted but embraced–with stunning results. Take a cue from 500px Contributor Estislav Ploshtakov, and use it to make a strong impact.

Complementary colors

For a complementary color palette, use two colors on opposite sides of the color wheel. Complementary color schemes are well-suited for photography because they add contrast–resulting in pictures that “pop” off the page and screen. Here, Da Miane uses complementary colors green and red.

In this street photo from Singapore, Peter Stewart uses complementary colors blue and orange. No need for an overly complex composition–these colors catch our eye all on their own.

Split-Complementary Colors

In this variation on a complementary color scheme, you’ll select your base color, and then instead of using the color directly opposite, you’ll use the two colors on either side of it.

In this colorful photo, Claudio de Sat photographs the blue sky against the architecture of East Berlin’s Plattenbauten buildings. He then incorporates hues closer to red-orange and yellow-orange on the color wheel. The result is a striking and harmonious photo with a little bit less of the dramatic tension we’re used to seeing in photos with complementary colors.

Tetradic colors

A tetradic color scheme, sometimes called double-complementary, features a total of four colors, including two sets of complementary colors. Of the basic color schemes we’ll cover here, this one might be the trickiest to pull off–if only for the fact that it incorporates four colors.

This photo by Alena Haurylik does it brilliantly. By using two complementary pairs (orange-blue, green-red) in moderation, it succeeds in being both eye-catching and sophisticated.

Analogous colors

Analogous color schemes incorporate three colors that sit next to each other on the color wheel. Wildlife photographer Jonne Seijdel encountered this dazzling Rwenzori three-horned chameleon while traveling through the Rwenzori mountains in Uganda. In this photo, he was able to include side-by-side colors for a pleasing and dynamic result. Perhaps unsurprisingly, given this example, analogous colors are often found in nature.

When using analogous colors, photographers usually choose one dominant color and then use the others in a supporting role. Designers use what they call the “60-30-10 rule”–meaning that the main color (usually primary or secondary) takes up 60% of the space, while a supporting color (secondary or tertiary) takes up 30%, and the final color takes up just 10%.

This photograph by Jovana Rikalo, appropriately titled Orange Dream, features mainly the color orange, with red and yellow accents.

Triadic colors

A triadic color scheme comprises any three colors that are evenly spaced around the color wheel. Like complementary colors, these schemes are vibrant and full of contrast. In the majority of situations, these will be the three primary or secondary colors. 500px Contributor Sabrina Hb’s portrait of a woman and fruit in Colombia might be called Yellow, but those touches of blue and red on the woman’s dress complete the photo–giving it that extra “oomph” and vitality.

Designers generally recommend sticking to the three primary or three secondary colors for that “clean” look. Use too many tertiary colors, and you run the risk of a photo that looks muddy. This landscape by Gunar Streu is another perfect example of color done right because it uses the three secondary colors of the RYB color system: orange, violet, and green.

While color theory might be easiest to implement in the studio, these talented photographers remind us that photographers of any genre, from street to wildlife to architecture, can use it to their advantage. Color is a photographer’s playground. Experiment with different schemes, and see what works best for you. We’ll see you again in part two of this three-part series on color theory.

While color theory might be easiest to implement in the studio, these talented photographers remind us that photographers of any genre, from street to wildlife to architecture, can use it to their advantage. Color is a photographer’s playground. Experiment with different schemes, and see what works best for you.

Stay tuned for part two of this three-part series on color theory.

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Blue Hour Photography: A Beginner’s Guide

Curated Article from Coles Class Room.

Photographers like to talk about golden hour photography and the beautiful, glowy light they find right before sunset or after sunrise.  Golden hour is amazing.  But for my money, you can’t beat blue hour photography for some peaceful, serene images.  Don’t be so hasty packing up your gear after the sun has set.  Stay a little while to enjoy the blue hour!  

Exactly what is blue hour photography and how do you shoot it?  Follow along below for our beginner’s guide on when, what and how to shoot to take advantage of this really cool period of day!

What is Blue Hour?

Blue hour is the period of morning or night when the sun is below the horizon but still casting light into the sky.  The result is a beautiful, cool sky that makes a stunning backdrop for your photography.  Blue hour skies are crisp, cool and full of gauzy shades from indigo to navy with hints of red and pink.

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When is Blue Hour?

The general rule of thumb for blue hour is up to one hour after sunset or one hour before sunrise.  Your blue hour might not last a full hour, though.  Sometimes we only get 20-40 minutes of photography of beautiful blue before the skies turn completely black at night or the sun clears the horizon in the morning.

How long the blue hour lasts and what it looks like depends on your location, season, and the weather.  The best blue hours, in my opinion, occur on nights with few clouds.

Why Should You Shoot Blue Hour?  

Shooting during blue hour has several advantages.  First, blue hour can add more visual interest to your images.  The blue hue of the sky is a more appealing backdrop than a completely black sky, and is a great contrast to electric lights.

Also, blue hour photography helps add creativity to your photo by allowing you to convey motion.  Because there is less ambient light, you can use a lower shutter speed like 1/60, 1/10, 5, or even 30 seconds.  A slow shutter speed lets you convey motion by smoothing out water, creating light trails, or blurring clouds.  Also, you aren’t fighting mid-day or late evening sun.  So blue hour gives you more flexibility when it comes to adjusting shutter speed, aperture, and ISO in dim light.

What to Photograph During Blue Hour Photography

Blue hour is a popular time to photograph lots of different types of images, from portraits to carnivals.  Try shooting any of these images as blue hour photography subjects:

  • Cityscapes
  • Travel images like busy, winding roads or freeways
  • Landscapes like beaches, bridges, wharves, or marinas
  • Fairs, circuses, or carnivals
  • Portraits with suitable ambient light or off-camera flash
  • Moon photography

Want to take scenic landscape and cityscape photography shots like a pro? Check out our landscape photography course!

What Equipment Do You Need for Blue Hour Photos?

To capture your own blue hour photo, make sure you’re ready with the following gear:

  • DSLR or mirrorless camera that shoots in manual mode and RAW.  Your camera should also be capable of shooting in bulb mode to create long exposures.
  • Lenses that matches your intended composition.  A wide-angle lens, such as an 18mm or 24mm, is a great choice for cityscapes and landscapes.
  • Tripod (to stabilize your camera)
  • Flashlight (to adjust settings in the dark)
  • Stopwatch or intervalometer (for a time-lapse photo)
  • Remote shutter release (cable or wireless)
  • Extra batteries and warm clothes if you’re shooting in cold temperatures

How to Capture the Blue Hour

Blue hour photography isn’t a hard concept to master, but it does take some planning and forethought to get it right.  Here are my best tips!

  1. Plan your blue hour photography shoot ahead of time.  Scout out possible locations in the day and know when blue hour will occur for your location.  An app such as PhotoTime or Photopills can help!  Look for locations that have artificial light for interest but aren’t overwhelmed with light pollution.  Too much light in the background dilutes your skies.  You’ll get a sky that’s orange or pink instead of that tranquil deep, dark blue.
  2. Pack your gear ahead of time.  Make sure you have everything you need for a blue hour shoot before you leave the house. You don’t want to find the perfect location and have beautiful weather only to realize you’ve left your tripod at home.
  3. Arrive early to set up your equipment.  Allow plenty of time to set up your tripod, frame your shot, and dial in focus and settings.  I always plan to arrive at least 30 minutes prior to sunset or 90 minutes before sunrise.  The best blue hues can fade quickly, so you want to be ready to make the most of your opportunity.
  4. Choose your settings based on your goals for the photo.  Slower shutter speeds help create light trails or smooth out water or clouds.  Wider apertures such as f/2.8 or f/1.8 can create beautiful bokeh orbs.  Narrower apertures turn points of light into sun stars.  Prioritize your settings based on what’s most important in your image.
  5. Be patient!  Don’t get in a hurry to start snapping pictures too early!  You want to wait for the moment when the sun has sunk below the horizon at night.  For morning blue hour, you’ll want to wait for the moment when the light turns from black to dark blue.  
  6. If light trails or buttery water/clouds are your goals, shoot in shutter priority mode.  That way the camera will choose ISO and aperture for you, allowing you to focus solely on shutter speed, composition, and timing.
  7. Turn off auto white balance.  The camera gets fooled by the blues and tries to neutralize them, which kind of defeats the point of shooting gorgeous blue skies!  I prefer to use Kelvin instead.  Start in the 6500K range and adjust as needed.
  8. Use a shutter release cable or remote to fire the shutter.  This will make sure you aren’t jiggling the camera and creating blur in your images when you manually press the trigger. If you don’t have a remote or cable, you can also use the timer function of your camera. This lets the camera settle first before firing.
  9. If you’re still getting blur even if using a tripod and remote, try shooting in live view or locking up your mirror.  Occasionally the minor act of your mirror flipping up to expose your sensor is enough to introduce blur into your image.  But if you shoot in live view or adjust your setting to lock the mirror in the up position, the mirror stays in place and helps eliminate shake.  
  10. Remember your other composition rules!  Use the rule-of-thirds where appropriate.  Look for leading lines to accentuate your subject.  Shoot from different angles and perspectives.
  11. Don’t be afraid to experiment!  Try different combinations of settings to give your images a slightly different look and find what YOU like best.  For example, I usually keep my ISO between 200 and 400.  But you might find you really prefer the added grain of ISO 1000 better.  Take multiple exposures with different settings and pick your favorites.  Soon you’ll find your perfect blue hour setting combo!

Post-Processing and Editing Blue Hour Images

How you process your images will vary according to your personal style.  I always shoot in RAW so I have the most flexibility in post-production.  My style is bold and colorful, so I usually add some vibrance, saturation, and contrast to my images from the hour blue.  Split toning helps enhance the color of the sky while keeping natural skin tones. Split toning also ensures you don’t wind up with all blue photos…remember it’s the contrast between blue and the other colors in the scene that add visual interest.  Finally, adjusting the luminosity may give your photo the pop it needs!  Try editing in your typical style first, then tweaking your blue hour images to find a style you best!

Conclusion

Don’t be such a slave to the golden hour that you miss photographing in the blue hour.  It really can be every bit as magical as golden hour and lends a certain tranquil and calm spirit to your photo.  You’ll love the tones and ethereal quality for landscapes, cityscapes and more!

Article written and copied from Coles Classroom.

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