Captivating

Color
A Guide To Dramatic
Color Photography

a book
by Mitchell Kanashkevich
Contents
Controlling color in post-processing............................................................ 39
Disclaimer / Credits and Copyright..................................................................3
Color temperature and mood......................................................................40
A note from Darren Rowse................................................................................4 The multi-purpose color balance.................................................................41
Shaping the story and mood through individual color adjustment..........42
About the Author................................................................................................4
Making things disappear in Photoshop.......................................................45

Introduction..........................................................................................................5 Some tools of the trade................................................................................46

The first steps to using color more effectively............................................6 Conclusion.......................................................................................................... 48

Some ideas and theories on color...................................................................7 Want more from DPS?..................................................................................... 49

The concept of visual weight.........................................................................8

Speaking with color......................................................................................11
Color and emotional impact........................................................................14
Less is more....................................................................................................18
The power of color order.............................................................................24

Controlling color during the shoot.............................................................. 26

Light and color..............................................................................................27
Color and different types of available light................................................28
Direction of light...........................................................................................35
Controllable artificial light the flash and the reflector...........................36
Manipulating the scene................................................................................37
Isolating what matters..................................................................................38
Disclaimer
This ebook is not about some sort of precise, scientific approach to color.
If youre after tangibles, numbers, diagrams or color wheels, youve come to
the wrong place. Everything written here is based on my own photographic
experiences, analysis of the work of some photographic masters as well as
long chats with other photographers, creative people from the field of visual
arts and even a psychologist.
As with anything non-scientific, the contents of this ebook are subjective;
look at it as one photographer sharing his knowledge on a topic that he is
passionate about with others. You dont have to agree with me, but I can tell
you with confidence that at least absorbing what I touch on here and trying
the included exercises will have a positive effect on how you yourself work
with color.
Finally, I am a travel documentary photographer. Everything in this ebook
comes from this genre, which I feel is wide enough and challenging enough to
provide some good examples for other genres of photography too. The only
exception would be when youre working exclusively in circumstances where
you have no control whatsoever over any details of your shoots, like time of
day, location or the arrangement of subjects/objects. Even so, the knowledge
I hope to pass on here should prove useful when or if you should happen to
deviate from such circumstances.
Credits and Copyright
Written by: Mitchell Kanashkevich
www.mitchellkphotos.com
Publisher: Darren Rowse
www.digital-photography-school.com
Producer: Jasmin Tragas
Graphic Design/Layout: Naomi Creek
www.starfishblue.com.au
Version 1.0 Copyright 2011 Mitchell Kanashkevich
All photos and illustrations by the author unless otherwise noted.
All rights reserved.
No part of this publication may be reproduced, stored or transmitted in
any form or by any means, electronic, mechanical or otherwise, without
prior written consent from the publisher, except for the inclusion of brief
quotations in a review. You may store the pdf on your computer and backups.
You may print one copy of this book for your own personal use.
Disclaimer: The information contained in this book is based on the authors
experience, knowledge and opinions. The author and publisher will not be
held liable for the use or misuse of the information in this book.
A note from Darren Rowse
Editor of Digital
Photography School
When you ask many camera owners about color the
conversation immediately turns to the choice between
black and white and color in presenting their photography.
But theres so much more to color than that.
In my experience, color plays a crucial role in taking a nicely composed and
well-lit (but emotionless) image and lifting it to be one that draws you in and
makes you feel something.
About the Author
Mitchell Kanashkevich is a freelance travel and
documentary photographer. He travels the world and
shoots personal projects as well as travel-related stories
and stock photos for Getty and Corbis Images.
His work has appeared in some of the worlds top
photography magazines, on book covers, in ad campaigns and has made its
way into private photo collections around the world.
When not on the road Mitchell makes his home in Sydney, Australia with his
wife (and helper in every possible way) Tanya and his dog Toshka.

The problem is that while we know its impact, color is not always at the front
of our minds as we approach the taking of an image. In fact its not often until
post-processing an image that we begin to think about it and unfortunately
by then it is often too late.

Despite its importance not much has been written on the topic of color
when compared with other elements of photography. Thats why when the
topic came up as a potential ebook I was so excited.

And because it was Mitchell who made that suggestion I was doubly keen
because the use of color is always something that has attracted me to his
photography.

His images tell stories, evoke emotions and communicate often as a result of
his use of color. I cant think of a better person to guide us through the topic.

I hope you enjoy this ebook as much as we did producing it.

Introduction
Why should we care about color and why this ebook?
Color concerns anyone interested in making engaging (not to even
mention captivating) color photographs. The reason for this is simple
color contributes to what our images say and to what emotions they
convey and evoke in the people who look at them.
Color is as much a part of visual communication as composition and
light, but it rarely gets discussed in the same creative sense. It is
not surprising then that so many photographers simply dont see
color and dont understand it, even during the later stages of their
photographic journey.
A lot of us treat color as an afterthought, without giving it its due
and without fully exploring the creative opportunities or navigating
around the challenges that it presents (and there are quite a few of
both). The ebook intends to change that, to illuminate the topic of
color for anyone who is interested in using it to produce stronger,
more interesting and more emotional color images.
Structure of the ebook
The ebook is made up of four chapters. The first two should be
considered required background knowledge, the aim being to help
you understand how color can be used and how it works within the
photographic frame. The following or last two chapters are all about
the practical side of dealing with color. Well look at some of the most
effective ways to control color during the shoot and in post-processing,
all with the aim of making stronger, more engaging photographs.
The texts in this ebook are accompanied by images that illustrate
how ideas and theories I cover work in real life. There are also a few
practical exercises which I have included towards the end of some
sections in order to encourage you to apply what youve learned to
your own photography. At the end of the day, there is no substitute
for actually going out and trying things yourself.

The first steps to using color more effectively
Awareness
As mentioned in the introduction we often tend to take color for
granted. We often dont think about it, or we might only when the
photo has already been taken. This is of course a big mistake. The very
first step towards dealing with color creatively and effectively is to
simply be aware of it and to be aware that whatever color enters the
frame will have an impact on the photograph.
Intention
If we are to create images that reflect what we want to say and what
feelings we want to portray through the photograph, we need to be
intentional in our approach to color. We cant just let things be, not at
the time of the shoot, nor during the post-processing stage.
As we are taught to with composition and light, we need to take control
as much as possible over the color that ends up within the frame and
we have to be conscious of whether it serves the overall purpose of the
image or not.
Introduction
Developing photographic sensibility towards color
Having photographic sensibility towards color basically means having
a deep understanding of how the colors in any given scene will work
within the frame. This whole ebook is created to help with this very
subject. But of course reading alone wont be enough. Ultimately we
develop and refine our sensibility through hands on experience and
the process itself is never ending.
Another important element thats crucial in helping us develop
photographic sensibility towards color is the act of looking at the work
of great color photographers. This is what our first exercise is all about.
Exercise
Below I have included photographers from different fields who are widely
regarded as masters at what they do. Coincidentally they are also masters at
dealing with color. Clicking on the name will take you to each photographers
images online, but I also encourage you to find their work in print (if you have
a chance) to truly appreciate it.
Steve McCurry Documentary, travel www.stevemccurry.com
Randy Olson Reportage, documentary www.randy.olsonfarlow.com
David Muench Landscapes www.muenchphotography.com
Philip Hyde Landscapes www.philiphyde.com
Jill Greenberg Commercial/Fine Art www.manipulator.com
Paul Nicklen Nature/Wildlife www.paulnicklen.com
6
 Some ideas To get the most out of color for our photographic
purposes we really need to understand how it

and theories works within the frame. That is what this chapter
is all about. Well touch on what I feel are the most
relevant and applicable ideas on working with

on color color. Well look at how color can be used to draw

the viewers eye, to tell stories, to create emotional
impact and how to do all of these things in the most
effective manner possible.
 The concept of visual weight

The concept of visual weight

Any time we talk about color within the photographic frame we cannot
escape the mention of composition. After all, composition meaning
the inclusion, exclusion and placement of elements within the frame
is right at the heart of the photographic process.

In color photography, however, its not enough to be concerned only with

whats in the frame and where everything is placed. We also need to Knowledgeable
use of color
consider how all the colors within the frame appear in relation to each
other. This is where the idea of visual weight comes in; it is ultimately
just a more fluid and adaptable way of looking at composition, one

is the most
which I find very well suited to working with color.

The main premise behind the idea of visual weight is that in each
photograph some elements will demand or grab our attention more
than others or another way of putting it is to say that some elements
will be more visually heavy than others.
powerful way
Shape, size and the placement of any given element within the frame all to grab the viewers
play a part in making it visually heavy. However, it is believed that color
is actually perceived by our mind before virtually anything else. It makes
sense then that color plays arguably the most important role in making
attention.
an element in a photograph visually heavy (or not). Knowledgeable
use of color is the most powerful way to grab the viewers attention, to
direct it towards whats important within the frame, and this, as you will
learn in the following pages, is crucial if we are to create anything close
to engaging color photographs.

8
 The concept of visual weight

Some rules of note about

visual weight and color
If we were to have two elements of
about the same size, a warm colored
element would be visually heavier
than a cool one, while a bright colored
element would be visually heavier
than that which is dark. An element
made up of a pattern of colors would
be more visually heavy than that of
plain color.

I mention these rules in hypothetical

scenarios, but you can see how they
work in practice from the photograph
on this page. It should be fairly clear
just how visually heavy warm, bright
colors can be. Those bright orange
pumpkins are virtually screaming for
our attention.

Relativity and contrast

The pumpkins are so obvious in this
photograph, in part because orange
is a bright and warm color, but that
is not the only reason. Imagine if the
wall was painted a similar orange
color. We would then have orange
colors that dominate the frame. So purple sweater and the dark, If we look closely we notice the shut
dominate the entire frame, with those
heres another important point: the almost black axe. While not quite window behind the woman and a
same pumpkins not demanding so
visual weight of any given color is as visually heavy as the pumpkins, plank of wood in the dark corner of
much of our attention any more.
completely dependent and relative all of these elements stand out as the room. These elements are fairly
The other reason why the bright, to the other colors, particularly those well and contrast (or their relative dark in themselves and, because they
warm orange has such a strong which take up most of the frame. noticeability against other colors) are set against the darker parts of
presence in this photograph is is again the main cause. the frame, they almost blend in and
Lets have a closer look at some of
because it is in such strong contrast thus become barely noticeable.
the other visually heavy elements. What about the elements that dont
to the mostly subdued, darker
The face and the hands, the womans have much visual weight in the frame?
9
 The concept of visual weight

More on contrast of colors and visual weight

To really understand how visual weight works you basically have to grasp that,
no matter what the situation, it is the contrast (or being different from the
colors that dominate the frame) that makes any given color visually heavy or
attention-demanding. Lets have a look at two more, very different examples
to drive the point home.

In the top image weve got a whole bunch of bright, vivid, usually very visually
heavy colors, but it is actually the more subdued flesh tones of the performers
face that demand most of our attention. Why? Because the bright colors form a
pattern, the pattern dominates the frame and whatever breaks up the pattern,
whatever color is in contrast or most different from those that make up the
pattern, is what ultimately draws the viewers eye the most.

The bottom image is virtually duo-tone, there are no bright or vivid colors which
could be considered visually heavy in most situations, but the principle behind
what draws attention here is the same. The colors and tones which are there
are visually heavy in relation to whats within the frame. Against the subdued,
brighter tones of the foggy surroundings that dominate the frame, the slightly
richer and significantly darker tones of the figures instantly become visually
heavy because they are in such obvious contrast to the dominant colors.

Importance of visual weight and drawing the eye

If we are to create any truly worthwhile color photographs we need to get a
firm grip of the concept of visual weight. We need to learn how to effectively
draw the eye towards where we want with color. But of course a very
reasonable question to ask is, why do we need to do that?

Any time we draw attention to any one color and thus an area or element
in the photograph we actually begin to communicate from within the frame.
We take the first steps towards telling stories and evoking feelings. This is
exactly what well discuss in depth in the next two sections of this chapter.

10
 Speaking with color

Speaking with color

I mentioned right at the beginning that one of the reasons behind
colors importance in photography is that it impacts what our
photographs say. This is a fact and for anyone interested in creating
photographs which are more than spontaneous or thoughtless snapshots ... make the images
speak louder,
its an important fact. Not being aware of it or ignoring it means
that youre ultimately just losing control over a big part of what your

clearer, with more

photographs communicate.

On the other hand, being aware, having a deeper understanding and

complexity and
sensibility towards color not only helps us to communicate our stories
effectively, it can make the images speak louder, clearer, with more
complexity and with a whole different layer of information.

So just how do we speak with color? Everything comes back to the frame
and composition. As I noted in the Visual Weight section, we begin to
with a whole different
layer of information.
speak with color as soon as we start to draw the viewers attention to
an element or an area of a certain color within the frame. What were
essentially saying by doing this is, Look here, this is important, this is
what the story is about! To understand this better, lets look at some
practical examples over the next few pages.

11
 Speaking with color

A practical look at speaking

with color
In this photograph color brings your
attention to the window, the side of
the man facing the window, the tea
glasses and a part of the table. These
are the most visually heavy elements
and they form the basis of the story.
In a sense, theyre an introduction of
a sort, a little like saying, A man is
setting tea on a table by the window.

The other elements within the frame

are nowhere near as visually heavy,
but they still draw just enough
attention to be noticed a towel,
a bottle, the actual darkness of the
room. . . and if you look really closely
youll make out some other stuff.
Its OK that these elements dont jump
out at us immediately, they arent
crucial to the story, but they are still
relevant bits of information about the
mans world and provide a layer of
depth for those who seek it.

Hierarchy
Its important to note that a certain
hierarchy to the distribution of
visual weight is required for the story
to make sense. The most important
elements to the story must be most
visually heavy, the supporting details
less so and those elements that have
no purpose can very well fade into
darkness as they do here, or be left
out, completely outside of the frame.
Challenges to speaking
with color
The challenge that color brings to
telling the story comes if there are
distinctly colored elements or areas
within the frame which break up that
hierarchy of visual weight. Imagine
for example a bright, red bucket
in the bottom right corner (similar
scenarios have happened) or picture
that the room wasnt so dark and we
saw a bunch of multicolored objects
around the man and on the wall.
In both cases those bright, visually
heavy elements would shift our
attention from what matters.
We wouldnt necessarily know right
away whether the story is about the
man setting tea or about the red
bucket or the objects around him.
If the elements were distracting
enough (visually heavy enough)
the point of the story could quite
possibly become secondary or get
completely lost.

12
Keeping it minimal,
keeping it relevant
With all the potential challenges
that even one odd color brings to
communicating a story, we have to
take great diligence to make sure
that every color within the frame is
relevant and makes sense.
Do all the colors play a role within
the story? Does anything stand out
that shouldnt? Does anything less
important stand out more than
something more important? These
are the three questions I like to ask
myself (and that Ill keep echoing in
similar form) while framing the shot
and later, when post-processing it.
My approach to color and visual
story-telling is minimalist. Colors that
make sense remain as they are or are
accentuated in post-processing; all
that dont are ideally excluded from
the frame or manipulated in post-
processing (more on this later).
And now to minimalism in practice.
In the top left image we essentially only
have three distinct colors and shades of
these brown (mans face), grey (mans
clothes, man in the distance), and
yellow (sulphur, soil, smoke, baskets).
These colors are all we need to say
something along the lines of: A man
is packing slabs of yellow sulphur into
a basket, with another man working
amidst a cloud of yellow smoke in the
distance. The result of minimalism
here is that the story is clear as can be.
The same approach applies to the fish). The image says something close
next image, only this time there are to: In blue water, there is bright
four distinct colors and shades of purple coral, bright yellow fish and
these blue (water), purple (coral), some small black fish. Again, minimal
yellow (fish, reef), and black (smaller color and a very clear message/story.
Exercise
Select a few of your own images where you feel color helps you bring attention
to whats important to the story. Show these to a few friends and ask them
about each image: What do you think this photo says?
If their understanding of what the photo says is pretty close to what you aimed
for, youre on the right path. If not, try again. Shoot more images, keep in mind
the visual weight hierarchy and look for situations with a minimal amount of
distinct colors.
Another option is to post your images with the same question to the critique
section of a great photo-sharing site called 1X.com It contains a lot of
knowledgeable photo enthusiasts happy to share their thoughts.
13
 Color and emotional impact

Color and emotional impact

Perhaps the most important reason to learn about color and to develop
sensibility towards it is the fact that the color in our photographs impacts
those who view them on an emotional level. With color we can create
mood and atmosphere, we communicate feelings and evoke them in
others.

While the subject matter and composition also play their part in shaping
the emotional impact of a photograph, color is the quintessential
element which has the capacity to add a whole new dimension and to
Color is strongly
make that emotional impact truly powerful. The reason for this is quite
simple color is strongly associated with feelings, moods and sensations. associated with
There are actually quite a few associations and theories related to color,
many of them too subjective, culture specific and questionable to base feelings,
our approach on. There are, however, those associations which have
pretty much been ingrained in our minds, probably because they are moods and
sensations.
influenced by nature and aspects of life common to everybody.
These associations are what we need to remember when intending to
convey moods and emotions through color.

You will be familiar with most of the more universal color associations
yourself; you just have to think a little. However, here are some examples
to get you started: Blues and greens bring to mind coolness, freshness
and calmness. Oranges, yellows and similar colors are instantly associated
with warmth and energy. More generally speaking, dark colors set a
mysterious mood the association with the unknown. Dull colors create
a sombre mood, while bright and vivid colors are associated with energy,
joy, hope, life and excitement.

14
 Color and emotional impact

Uniformity of color
Uniformity of color essentially means
that the colors within the frame are
similar to each other, that they are
associated with similar emotions and
feel like they belong to the same
group.

The photo here is a good example

of uniformity of color. All the colors
are organic, earthy, vivid and all have
a warm tinge. They are similar or
uniform.

Why is color uniformity relevant when

talking about emotional impact?
Because while every color within the
frame can play a role in creating or
breaking the mood, the colors that
dominate the frame are the ones
responsible for the overall mood of
an image. If there is an overall
uniformity within these dominant
colors, we quite simply get a clearer,
stronger sense of mood.

Combining subject matter

and color to intensify
emotional impact
Color and subject matter are
inseparable. In a color photograph
every element is of some color.
Subject matter and color or more
correctly, subject matter and our
associations with color can work
together to intensify the emotional
impact of an image. This can be
particularly effective when the
emotional associations of subject
matter and color mirror each other,
as is the case with the photograph
above.
see with energy, life, freshness and
Weve got a man of strong stature
standing on an upward pointing rock
with beautiful, dramatic nature all
around him.
Even if the photo were black and
white, wed likely associate what we
harmony with nature.
Those uniform, earthy, vibrant colors,
the warm tinge, the strong presence
of greens, shades of yellows and
blues evoke pretty much the same
emotional associations. Put the two
together and you are communicating
the same message (story or mood),
only more intensely, on multiple
levels.

15

Contrasting feelings
A strong mood created by uniform
colors that dominate the frame can
be broken up or changed by a single
color that doesnt feel like it belongs.
This happens because the odd color
essentially brings a different feeling
(or associations to a different feeling)
to the frame.
This contrast of feelings can be
visually interesting. The photo here
is a good example. The splash of red
livens up the mood and brings some
energy to an image which otherwise
feels sombre because of the subdued,
greenish, bluish greys that dominate
the frame.
Challenges to creating a
mood with color
Had I wanted to keep the mood in
this photograph sombre, the presence
of red would have meant that I failed.
The interference or the break-up of
the mood established by uniform,
dominant colors can be good or bad,
depending on your aim.
The biggest challenge to creating
a strong sense of mood, however,
comes with the need to keep the
overall palette as uniform as possible.
Besides the uniform dominant
colors there should only be splashes
(in other words small areas) of other
colors and not too many of them.
Color and emotional impact
More than three (use this as a guide)
of such distinct splashes of color
in this image would have likely led
to a sense of disorder and confusion.
With more distinct colors competing
for our senses we wouldnt be sure
what we are supposed to feel.
Narrative vs mood
Imagine that the boy in the
photograph was wearing only grey
and that the only red element was
a toy car in the bottom right corner
of the frame. The mood would
essentially remain the same overall
sombre, livened up and energized by
the red of the car. The story, however,
would change. Its like Id be saying,
Look at the car, this is the most
important element here.
When a situation like that arises were
faced with a question: Whats more
important the story/narrative or the
mood? Assuming that I want the
story to be primarily about the boy,
I could frame out the car and make
that story clearer at the expense of
not having the mood livened and
energized. Or I could do the opposite;
keep the red toy car and preserve
the mood at the expense of the story.
Theres no right or wrong way to
handle the situation. Everything
ultimately depends on what you
consider more important for the
overall purpose of the image.
16
 Color and emotional impact

The power of color sense of mystery. The color just kind

Sometimes the color is so important
to a scene that it and the feelings it
evokes or the mood that it creates are
what actually draws us to take the
photograph. I would call those kinds
of images emotion- or mood-driven
photographs, in which color becomes
the most essential element within
the frame. I have included two such
photographs to illustrate what I am
talking about.
In the top image the electric blues
are creating a very strong mood;
theres a sense of mystique and, due
to the darkness, theres also a certain
of overwhelms you and captivates,
creating a world of its own.
In the bottom image the vivid
colors of the coral evoke a sense of
excitement and theres a certain life
energy emanating from them. It is
as if the coral itself were screaming,
Look at me! It was impossible to
miss.
Now, imagine either one of these
photographs in black and white.
They wouldnt be worth a second
look. The fact that they work as well
as they do is a testament to just how
powerful color can be.

Exercise
Just like the exercise in the Speaking with Color section, get your friends or the
people in the critique section on 1X.com to look at your images. Only this time
choose the images where you feel theres a strong sense of mood, images which
you feel are loaded with emotions because of the colors within the frame.
With emotions and moods things tend to get a little more subjective, so you
will want to ask more friends or to wait for more people to share their thoughts
online. Basically, if a majority tends to get what you were aiming to convey,
youve succeeded. If not, its time to try again, applying what youve learned so
far and what youll learn in later sections.
Note: You dont have to post your images on 1X.com, as there are other critique
sites around the web and some people even offer an in-depth critique for a
fee. The reason I mention 1X.com is because its free (for that section), theres a
wealth of knowledge and Ive been a part of it on and off myself.

17
 Less is more

Less is more
As youve probably gathered from this book so far, less colors essentially
equals less obstacles to telling your story and to creating a more
powerful sense of mood within the frame. To put it very simply and
bluntly having less colors is actually good for your photographs.

Having less
Knowledgeable people in the world of visual media who care about
your reaction to what you see are all very well aware of this less is
more idea. If you pay close attention the next time you watch a high
production movie, youll notice that most of the scenes in it are made
up of very few colors. Often theres even a conscious effort by film colors is actually
good for your
colorists to limit the color palette in post-production. The same tendency
can be witnessed in quality advertisements (print and motion) and
you may have picked up on the fact that a lot of the images from the

photographs.
photographers who I suggested to look up on page 6 also have very
few distinct colors.

The next section is an overview of what Ive touched on so far, but

in action i.e, in images. We will have a closer look at five different
photographs with a limited color palette, accompanied by brief
discussions on how I made color work in each one to convey a mood
and a story.

18
While walking through the forest with this tribal chief the atmosphere was
filled with the energy of the forest, vitality and harmony. The green is evocative
of that energy and vitality and the overall earthy uniform feel of the colors
within the frame works well to evoke the sense of harmony.
The story is about culture, and the mans harmonious existence with nature.
The visual weight hierarchy shaped by the contrast of colors ensures that all the
details key to the story are quickly visible white, curved pig tusk (culture) and
the eyes (mans character) against brown, yellow headwear (culture) on dark
green, brown hand on light green stem of the palm leaf (harmony with nature).
19
Here, I wanted to convey the sombre mood and the coolness of late European
autumn. The absence of any distinctly warm, vivid colors and the domination
of the frame by shades of grey, which are usually associated with more sombre
emotions, as well as a subdued blue color usually associated with coolness
helped me achieve this aim.
The story is about sheep on the outskirts of a village going off to graze over a
field of frozen grass. The sheep are pretty obvious because they are off-white
(against dark), but the frozen grass is only noticeable thanks to the fact that
theres only one competing color (the off-white of the sheep) around it in the
frame.
20
The mood in the bakery where I shot this was cosy, warm and relaxed. I made
sure not to frame any colors that would detract from that; i.e. no cool or
vivid, exciting colors. The colors which did make it into the photograph
predominantly shades of yellow and brown communicate what I wanted to
rather well, the white being fairly neutral, so it doesnt in any way interfere.
The minimal color palette allowed me to concentrate on the action. Nothing
except for the man making bread with the cigarette in his mouth demands
much attention, but with time everything becomes quite apparent. This works
well because the image is primarily about the baker doing his thing and
smoking, everything else has about an equal role, secondary within the story.
21
I wanted to convey what it felt like to be underwater with a turtle the
excitement, the coolness and freshness of the water, the harmony of being close
to nature. The turtles bright, warm-colored shell takes care of the excitement
part, the shades of blue are inevitably associated with coolness and freshness
and the palette, limited to natural, organic colors, keeps the sense of harmony.
The story is very straightforward a turtle is gliding through the water while a
snorkeller watches in the distance. Due to being in strong contrast to the water,
the turtle gets the most attention and we can easily see the gliding motion it
makes with its wing-like fins. The snorkeller is a secondary detail to the story
and the minimal palette of similar colors allows his dark figure to be seen.
22
The excitement and energy that color brings when you walk the streets in this
particular part of India is what I wanted to communicate here. The vivid blues
and the womans colorful sari are instantly evocative of those feelings; they
jump right out of the frame.
The story is about everyday life a woman looks at the world from her doorway,
while a dog sleeps on a step. Its simple and straightforward. The minimal color
which is used to draw attention to only whats relevant (with just the right
amount of visual weight) and nothing else helps to communicate both the story
and the mood very clearly.
23
 The power of color order

The power of color order

With all the talk of minimal color and the reasons why having less
colors is in various ways better, you might get the impression that
a myriad of colors within the frame isnt going to result in a strong
photograph. This is of course only partially true.

While it is quite challenging, its not impossible to make an image that

speaks clearly and has a strong emotional direction, even if it does not Both the
mood and
follow the limited color palette formula.

The main problem with having a lot of different, distinct colors (as a

the story
guideline, a lot is generally more than five) within the frame comes from
the fact that in most cases the different colors dont follow any order;
they are perceived as separate elements, each conflicting with the next

become unclear
and competing for the viewers attention.

A lot of this conflict or contrast basically results in a disorientating and

confusing viewing experience. Both the mood and the story become
unclear or even lost. or even lost.
If we can, however, create some sort of order amidst the different
colors within the frame the problem can be solved and we can make
photographs full of different colors work effectively.

Note: Just in case theres a need to clarify, when I refer to different and
distinct colors what I mean is a set of colors like blue, red, yellow, black.
In other words not similar colors like blue, light blue, aqua blue, etc.

24
 The power of color order

Making sense of multiple, distinct colors

When we see continuity, rhythm or repetition of multiple, distinct colors set
in close proximity to each other within the frame, we begin to see them as a
pattern or as one whole. Naturally when a myriad of colors stop conflicting and
competing with each other for our attention, they become much easier for our
brains to manage, to process and to make sense of.

Such patterns, whether already existing or made by the photographer through

the choice of framing, will by default liven up the mood of a photograph and
create a sense of energy. Whether we want that or not, we cant really do much
to control that part, thats just the effect a bunch of distinctly different colors
within a frame will have. We can, however, work the pattern into the story in
a variety of ways, without having any of the multitude of colors detract from
the important elements.

Color patterns in practice

Far from every colorful scenario will be suitable for becoming a pattern within
the frame or anything close to it. In a sense, we have to learn how to see
patterns to effectively work them into our images. Here are two examples to
give you an idea.

In the top image there are patterns within the design of the blankets, but more
importantly its the pattern formed due to the rhythm and continuity created
from the blankets being lined up, one after another, that makes at least five
distinct colors into just one whole element. This single element is composed in
a way that allows it to dominate the frame. It is then used as a backdrop for
the woman, who instantly stands out because she is made up of only two simple
colors which contrast strongly with the pattern of multiple colors (remember
the principle of visual weight here).

The idea is similar in the bottom image, but used differently. Theres rhythm and
continuity in the elephants decorations. The gold armour and its proximity to
the colorful parts makes the colors blend into a pattern. Its not a pattern in
the same sense as that in the above image, but it is perceived similarly, again a
single whole formed from multiple colors. Only this time, it is the colorful single
whole which stands out against the much plainer colors dominating the frame.

25
 Controlling We actually already have some control over color
even before we get to the scene/subject we want

color during to photograph. We control it to an extent through

the decisions we make, such as when to shoot and
in which kind of light to shoot. Once we are in front

the shoot of a particular scene ready to frame it, we decide

just how to frame it, where to position ourselves or
whether or not to interfere with it and rearrange
certain elements, so that everything within the
frame conveys what we want.

We wont always have much control over various

details during the shoot, but the more control we
do have the more control we have over color. In turn,
controlling color during the shoot ensures that we
get as close as possible to the desired result, without
having to do much in post-processing, which doesnt
always guarantee success anyway and usually takes
a good bit of time.
 Light and color

Light and color

Light and color are inevitably linked. In fact, color is actually reflected
light, and light is not visible until it is reflected off something (or
somebody). In practical terms and ones which are relevant to the ebook,

The color in
the color in any given situation is always affected by the light in that
situation. What this means for our purposes is that understanding just
how light affects color gets us closer to controlling it (color) in our
photographs. any given situation
With the exception of artificial types of light, we cant control light
directly in most situations, but light does change by itself you can is always affected
by the light
essentially say that there are different kinds of light or different lighting
scenarios. The way we control or change the lights effect on color then
is by placing ourselves in a particular lighting scenario whether that
means waking up early to shoot at sunrise, moving to a certain spot
to shoot in the shade or having light coming from an angle by moving in that situation.
around.

This section is an illustrated guide to the different lighting scenarios

and to how they affect and change color. It is also a look at the practical
implications of what the changes can mean for our photography.

27

Light during the
magic hour
The first and the last hour of daylight
are often referred to as the magic
hours. During the magic hour the
light and its effect on color change
quite dramatically with the movement
of the sun. When the sun is closer
to the horizon, everything the light
illuminates takes on a deep orange
tinge (bottom right image), which
gets less intense as the sun makes its
ascent (top right).
During the orange tinge stage
different colors begin to look similar
(uniform); you can see this in the
images on the right side. Note how
Light and color
strong the presence of deep and
lighter orange tinges has become in
these shots.
When the sun is a little further above
the horizon, the tinge turns to yellow.
Around the halfway point of the
magic hour, the colors look more
distinct (a little less uniform) and
particularly bright, vivid, vibrant. You
can see that in the bottom left image.
The mosques golden dome looks
especially vibrant and all the blues in
the image are very deep and rich.
Depending on where the light is in
relation to the subject, the magic
hour is also the time when you get
silhouettes. More of this on page 32.
28

Twilight
Twilight is the time when the sun
is below the horizon, but there is
still light. It occurs between dawn
and sunrise, sunset and dusk.
There are three types of twilight
civil, nautical and astronomical.
The names basically correspond to
the position of the sun in relation to
the horizon and the amount of light,
from closest/brightest to furthest/
darkest, in the order mentioned.
During the brighter stages of twilight,
the colors are fairly dull, but are still
quite distinct (top right). As it gets
darker, the colors fade and become
darker too (bottom images).
Light and color
At times, during civil and nautical
twilight, a cloudy sky reflects the
last of the suns rays and may take
on shades of red, yellow, purple and
everything in between. In these cases
the elements illuminated by the light
from the colorful clouds may take on
a slight tinge of the same colors. If
there are no colorful clouds in the sky,
the tinge is greyish-blue.
Astronomical twilight is basically the
coming of darkness, the time when
stars appear in the sky. To the naked
eye everything simply looks dark, but
shooting on long exposure reveals
very toned down color with a strong
presence of that greyish-blue tinge
(bottom right).
29
 Light and color

Light on overcast days and in the shade

Both types of light have a similar effect on color. In both situations, when the
light is fairly bright, it is neutral and there is no significant tinge to the colors
they are all fairly intact and distinct from each other. The top image is a good
example of this.

As it gets darker, for example during a really cloudy day or in a strong shade,
the tinge starts to get slightly grey, but the colors remain distinct. Even with
really heavy clouds the colors may appear dull, but are still fairly distinct.
The only time this changes is when it gets really dark if we are shooting in
the shade indoors for instance. In this case the colors are in a sense drained
from those elements which are positioned in the darker area and everything
leans towards looking dark grey.

This latter factor is good to keep in mind in case we find a lighting scenario in
which we have a well-lit area where the important elements of the photograph
are located, fading into darkness in the area which isnt important. Ill discuss
this more in the Direction of light section in this chapter.

Bright sunlight
What I am specifically referring to here is the light produced by the sun which
has already made a significant ascent above the horizon. In practical terms this
is basically the entire period of daylight after and before the magic hour.

This kind of light makes everything look very bright there isnt a tinge of
any sort. The colors are distinct from each other, at the same time they are
not vivid, quite the opposite the bright sunlight has a bleaching effect and
makes everything look relatively dull (generally, the further up the sun is,
the more dull). The bottom photo showcases this well and the comparisons
of photographs on page 34 should give you an even better idea of just how
dramatically the color changes under the bleaching, bright sunlight.

30

Firelight
Light from various kinds of fire
produces a distinctly warm tinge
which ranges from deep orange to
brighter orange bordering on yellow,
as the fire flickers.
When firelight is the single light
source, all the colors around it
basically become shades of orange
and yellow (bottom images). When
there is another light source like
a lamp or daylight (top right) the
presence of oranges becomes less
strong, while the original colors of
the subjects remain more intact.
Light and color
Its important to note that as you get
further away from the firelight, things
start to get extremely dark and this
can be used to our advantage. If we
have any say over where the subject
is in relation to the firelight, we can,
to an extent, control the color in the
scene. In a sense that was what I did
with the images here.
In all cases I waited for the moment
when the subjects would illuminate
themselves with the firelight by
moving closer to it. Their positioning
resulted in whats relevant becoming
bright, orange-ish color (visually
heavy/demanding attention) and
everything less relevant gradually
fading into darkness, out of visibility.
31

Light underwater
Underwater everything has a bluish/
greenish tinge, depending on the
kind of water, the distance of the
subject from the surface and from you
the photographer.
The further the subject is from the
surface (thus the light source) and the
further you are from the subject, the
more it loses its original color and the
stronger the tinge becomes (top right).
Fog
The light on foggy days has a similar
effect to light underwater in that the
further away you are from the subject
Light and color
and the thicker the fog, the more the
original colors are lost.
Things are a little different when it
comes to the tinge, however.
The tinge that a foggy situation will
produce will depend on what time
of day it is and on how much the
sun is blocked by the clouds. If it is
overcast above the fog, the tinge will
be neutral to greyish/bluish (bottom
right image). If the sky above the fog
is clear and were somewhere around
the magic hour the fog itself can
take on a warm, orange-yellow tinge.
It will basically suck out the original
colors and make everything in the
scene look warm (bottom left).
32

Artificial light in its many
forms
There are virtually countless artificial
lighting scenarios and all of them
will have their own, distinct effect on
colors, as you can see from the images
here. The specific effect will depend
on the light sources distance as well
as its direction in relation to what
youre photographing.
Whats important to note is that in
most cases artificial light will produce
a fairly distinct tinge, which gets more
intense if there is relative darkness
and the particular artificial light is the
only light source.
Light and color
These tinges can lead to some really
dramatic results as is the case with
the jellyfish image (bottom right)
and they can make colors look more
uniform and similar to each other.
A good example of this is the top
right image, where the skin tones,
color of the dresses and even the
color of the girls lips lean towards
the yellow of the street light.
In cases where there are a few
different colored lights, as in the
scene in the bottom left image,
its possible to have multiple tinges,
though they tend to average
themselves out in spots where the
the lights are similar and in close
proximity to each other.
33
Controlling color with light
At the top are photographs of the
same subject taken in different
types of natural light. From left to
right; astronomical twilight, nautical
twilight, early stages of the magic
hour and in the bleaching, bright
sunlight.
Ive included these images to reiterate
(through comparison) just how much
color changes with light. These and
the other images in this section, along
with the explanations, should have by
now given you an idea of how we can
change color with light and then convey
certain moods, feelings and even stories
(well get to that part in a second).
Here are a couple of example
scenarios. If we want to make an
image that feels energetic, joyful,
lively then shooting in the magic
hour light that makes colors vivid
and bright might be the answer.
A cool, mysterious feel on the other
hand might be best conveyed during
twilight, with its dark tones and
bluish tinge.
And now about the conveying of
stories part. Light mostly affects all
colors at once and that generally
works better for creating a mood,
but there are situations where it
makes some colors bright and others
dark; we had a glimpse of this in the
Firelight section. When we have a
situation like that, if we can control through light and color and thats
whats bright and whats dark, we what well touch on in the next page.
gain control over where the eye is
going to go within the frame. This
is when we really begin to speak
Exercise
Find a subject which you can photograph through different stages of the day,
under different types of light. Take mental notes of how the color changes with
the light. Take photos of the subject, as I have and then analyze these on your
computer screen.
The main point of the exercise is to get you to see the effect of light on color
for yourself, in real life. It might be something that you have been aware of to
an extent, but only when we try things ourselves and can compare can we truly
understand just how much of a factor light is when it comes to changing color.
34

Direction of light
The direction from which light
illuminates a subject can significantly
affect color. The light is particularly
directional (by this I mean we can
position ourselves and the subject at
a certain angle in relation to the light)
when the light source is close to the
horizon whether that is the rising/
setting sun, firelight, a lamppost or
light coming from a source like a
window or a doorway.
Lets have a closer look at directional
light at work. In the top image I had a
situation where I asked the subject to
sit next to the window. In other words
I directed the subject in relation to
the light source (or directed light).
The result is that the colors closer to
the light source look relatively bright
and vivid, everything further away
gradually becomes quite dull, taking
on a greyish tinge and blending with
the darker part of the image. This way
of directing light is very useful for
visual story-telling with color because
I have essentially drawn attention
to the main subject of the story and
made everything thats not important
almost monotone, darker, much less
noticeable.
35
Light and color
One of the simplest ways to see the
extent to which the direction of light
affects the colors in a photograph
is to have the subject in between
you and the light source and to
shoot right into that light source, for
example the setting sun. Against the
bright sunlit sky the subject would
become completely dark and we
would end up with a silhouette.
Shoot this very subject during the
same time, just from a different
position, with the sun behind you
and youve got vibrant, orange-tinged
colors.
The bottom photograph is an
example of a situation which stands
somewhere in between. The sun here
is at the early stages of its descent
(getting close to the horizon) but
rather than shoot straight into the
sun, I shot at an angle (the sun is
above the top right part of the
image). As a result the figures have
become fairly dark, but not quite
silhouettes; theres still some color
there and the angle at which light is
shining has created a warm colored
rim around the figures, particularly
visible around the heads.
35

Controllable artificial light
the flash and the reflector
Artificial light is a topic which
deserves a lot of time and attention.
What Ill mention here is only whats
immediately relevant to color.
The reflector reflects available
sunlight and because it has different
sides (like gold, silver, and silver/gold)
you can make colors look vibrant and
warm like the setting sun (gold side,
bottom left image), neutral (silver
side) or somewhere in between (gold/
silver side). With the right angling
you can also use the reflector to make
parts of the image bright and others
dark.
Light and color
The flash is one of the most powerful
tools of all when it comes to
controlling both light and color.
By using different gels (little pieces of
tinted, transparent film fitted on the
flash head) we can actually simulate
different kinds of light and their
effect on color. In the top image I
used an off-camera flash with a lightly
tinted gel to simulate daylight coming
from the side and in the bottom
a deeper orange gel was used to
simulate firelight.
The flash can be easily directed from
virtually any angle which gives it the
same abilities as the reflector, minus
the limitations that come with having
to reflect light.
36

Manipulating the scene
Unless you are shooting reportage
and your photographs have to
represent unaltered reality or its
physically impossible to manipulate
the scene (e.g. landscapes), there is
no reason why you cannot do just
that. This is essentially one of the
most effective ways in which color
can be controlled.
The idea will not be new to some
photographers, particularly those in
the commercial field. They regularly
ask the subjects to move or to turn
a certain way, they remove objects
from view and even arrange for
costume changes. With control over
the details of the shoot comes control
over color. The more capacity we have
to control those details, the more
control we have ultimately over what
color makes it into the frame.
The photographs here were created
as a result of this more hands on
approach. They dont neccesarily look
like theres been a lot of interfering
and they shouldnt by any means.
The reason Ive included them is to
share the stories behind how they
were made, to help you understand
what kinds of practical steps might
need to be taken.
Light and color
The top image had to be all about
the man carving wood, the emphasis
being on the wooden figure. With
the man initially wearing a colorful
shirt, clothes hanging from the roof
and a red thermos in the background,
it was impossible to direct the focus
to where I needed it. All those colors
were unnecessary to what I wanted
to say and yet they demanded more
attention than the wooden figure
and the mans hands, which were
essentially the main point of the
story.
My solution was quite simple. Because
we were on quite good terms, I could
ask the man to take off that shirt
and did a little rearranging of those
unneeded objects around the room,
to get them out of my field of view.
The bottom image was part of a
project that involved taking many
portraits where the emphasis had to
be on the subjects faces and their
costumes, but often I just couldnt
find a background that wasnt too
busy with color which distracted from
my main aim and just created an
overall sense of chaos.
My solution was to actually make my
own portable background (from a
piece of material). I would put it up
whenever the existing background
was too busy with color and thats
exactly what I did here.
37
Isolating what matters
The most obvious way to isolate the
colors that matter to the story or
to the mood is to get in closer or to
zoom in. The left image is an example
of the former.
With so much color chaos around
the subject, I simply came right up
to her and framed out that chaos.
Of course this isnt the only way
to isolate colors. In the case of the
photograph on the right I wanted
to capture the man and his alcohol-
making machine. These were the two
key elements of the story, while the
dominant shades of grey made for a
fairly dreary mood. In order to tell the
story and to preserve the mood within
the frame I didnt want any of the
scattered colorful mess (boxes, dog
bowls, tools) that were lying around
(some too large to move) to get in the
way.
I surveyed the situation for some
time, walking around, searching for
Does anything less important stand
an angle that would enable me to
see only what I needed and nothing
more. I crouched, got on one knee,
stepped to the left, to the right, and
in the end found the perfect vantage
point while standing on my tippy-
toes. This is the more likely scenario
in most situations because you often
really have to move yourself to find
that perfect angle from where colors
make sense and dont contradict each
other.
While Im moving, framing the scene
in different ways and thinking of
just which colors will work (or wont)
I like to ask myself those questions
I mentioned earlier: Do all the
colors play a role in the image? Does
anything stand out that shouldnt?
out more than something more
important? In other words I am
searching for the right visual
weight hierarchy (page 12). If the
answer is no, if the colors dont
make sense, I keep on searching.
Sometimes, however, its not even
so much a search as it is a wait for a
particular moment. While shooting on
the streets, in busy places or when
you have a moving subject, the right
combination of colors may come
when certain elements get out of the
frame while others get in.
I might for example have a perfect
shot set up in my mind. Lets say the
same man with his machine was on
the street and I wanted to tell the
same story and create a similar mood.
Lets also imagine different people
coming through the scene, all of them
not having any purpose in what I
want to convey, but drawing much
attention away from what matters
with their colorful costumes. My only
choice would be to wait, in the hope
that the colorful people would exit
the frame and leave me with what I
need, if even for only a split moment.
38
 Controlling Ideally we should control color as much as possible
during the shoot and we should only have to make

color in post- small or general tweaks (to all the colors at once) to
it during the post-processing stages. However, the
reality is often far from ideal and the only control

processing we might actually have over color during the shoot

might be in the form of some basic and limited
framing decisions.

Depending on what we are shooting for and on our

ideological approach towards manipulating images
in post-processing software like Adobe Lightroom
and Photoshop (some people still completely oppose
it), we may or may not have quite a reasonable
amount of control over color after we already create
the photograph.

Again, those who shoot reportage get the short end

of the stick, but almost everyone else can do quite
a lot to manipulate color until it looks just the way
we need to tell the story and to evoke the emotional
response we aim for.
Color temperature
and mood
Color temperature is sometimes
referred to as White Balance and it
is measured in Kelvin values, which
generally range from 2,000 (coolest)
to 50,000 (warmest).
Adjusting the color temperature
only requires the movement of the
Temperature and Tint sliders in how different the same image can
the post-processing software. It is
one of the simplest, but also one of
the most significant ways in which
we can change the mood/feel of a
photograph in post-processing.
You can see from the examples
above that the adjustment of
color temperature has given each
photograph a tint. Its coolest, thus
blue on the left side, neutral in the
middle and warm/yellow/orange on
the right side. You can gather just
the colors in the image a cooler or
feel when it has a different color
temperature setting. Neither one
of these settings is neccessarily right While the color temperature can
or wrong, rather each one helps the be set in-camera in most mid- to
photo evoke a particular mood. upper-end digital SLRs, it is easily
changeable even after the shot has
To guide myself when adjusting
been made if youre shooting in
color temperature I usually like
Camera RAW format and this is what
to ask: How do I want the image
I highly recommend.
to feel cool, warm, mysterious,
cosy, energetic, etc? All of these
color associations (and more) can
be introduced by simply giving all
warmer tint.
40
The multi-purpose color
balance
Adjusting color balance is another
easy way to manipulate colors in post-
processing that yields dramatic results.
Just as with the adjustment of color
temperature all you have to do is
move the sliders, only there are more
of them (see page 46). As a result
theres much more control over what
tint you give to the image and over
what mood you will create.
The possibilities are virtually limitless.
The images above are representative
of just a few results.
This kind of color adjustment is done
quite often in cinema. If you pay close
attention, you will notice that in some
films there are scenes which evoke
a particularly strong sense of mood.
In those scenes theres this stylized,
at times unrealistic-looking color. It
is achieved in much the same way,
through adjusting the color balance.
As is the case when adjusting color At the end of the day its almost
temperature, I like to sometimes necessary to do at least a little bit of
ask myself about how I want my experimenting with this tool to get
photograph to feel when adjusting the most satisfactory results.
the color balance too. Only of course
there are infinitely more variations.
At times I may actually not have a
clear idea how I want my image to
feel. In those cases Ill just tweak the
sliders and play it by ear. Whatever
result, whatever sense of mood I am
most satisfied with will be the one
that Ill stick to.
41
 Shaping the story and mood through individual color adjustment

Shaping the story and mood

through individual color
adjustment
When we start to adjust individual colors we begin to really control
where the viewers eye is drawn to within the frame. Doing this without
an understanding can make your images confusing and frustrating to Knowledgeable
adjustment
look at. Knowledgeable adjustment of individual colors, however, can
refine the story, make it clearer and make the sense of mood stronger.
In many cases we can even fix certain color issues which were out of

of individual
control or not noticed during the shoot.

As I have kept saying, my approach to controlling color (post-processing

colors can refine

included) is based on the following questions: Do all the colors play
a role in relation to the story and the mood I am trying to convey?
Does anything stand out that shouldnt? Does anything less important
stand out more than something more important?
the story.
Only when I can answer these questions can I create something that
will make sense to others. The basic formula is simple everything thats
important and noticeable remains the way it is or even gets accentuated
(made brighter, more vivid) to draw more attention. Every element that
isnt important or of lesser importance is dimmed, partly de-saturated
or made darker, to be less visible.

Over the next few pages Ive included real life examples, which show the
way color looked in the photographs before and after post-processing.
Lets have a closer look at them now.

42
BEFORE
I wanted this photo to be about this
family, particularly the man, then his
wife and then about the mother-in-
law in the background. The mood was
a little melancholic and I think that
the darker colors communicated that
rather well.
I also wanted to say a bit about their
environment, as long as none of that
would take away from the people.
Besides giving the image an overall
face-lift and making all colors a
little more dramatic (by raising the
overall contrast), there were specific
elements that needed attention, Ive
numbered them and Ive included my
thoughts for each number and the
corresponding action I took (or didnt
take).
1. I made the mistake of not moving
this white plastic bag out of the
scene. It really added nothing to what
I was trying to convey, so it doesnt
need to draw any attention and it
would distract from what does matter.
I darkened it to a point where it
blends with the darkness of the room.
2. The striped bed-cover does say a
little about these peoples world, but
is it so important that it should be one
of the first things noticed (its pretty
bright in the before image)?
The answer is no, thus I have
darkened it quite a bit too.
3. Here weve got a smaller object,
which is very visible, but again, it has
no role and as I am quite meticulous
AFTER
with my approach to color, I de- 6. The windows are bright and
saturated it and darkened it to be they obviously demand significant
even less visible. attention, but I dont find this a
problem here. They are a key part of
4. The clothes near the ceiling can be
the story and they add to the mood
seen as an element which adds to the
they are the brighter world outside.
story, the problem being that a part
Whats also important to note is
of this element is pretty bright and it
the way they lead the eye along
guides the eye towards an area that
an imaginary line from the mans
is too far away from where the key
brightly lit face towards the back of
elements to the story are. As a result
the room. This allows us to actually
I darkened this area too.
get towards the mother-in-law, who
5. The red cup is not so bright that it would be rather lost in the darkness
absolutely screams for attention. Its if it werent for the bright windows.
just sufficiently bright (and red ) to be
noticed, which was good in this case.
Its that small, extra detail that adds
a little depth to the story and doesnt
take away from the core of it and so I
kept the cup just as it was.
43

This photograph is about a house
in the countryside, standing amidst
rolling hills on a magical, exciting,
sunny, yet foggy morning.
You could say that the untouched
photo was fine as it was, there was
nothing wrong with it. There
werent any colors which were
distracting from the story or the feel
of the image. However, there was
nothing particularly standout about
the image either. The story was there,
but it wasnt being told in a very
interesting manner. Also importantly,
the excitement of the bright, sunny
morning, the mystique and beauty of
the fog, in short, the awe-inspiring
BEFORE
beauty of nature that touched me
when I looked at the scene was not
really being conveyed.
What I did with this image is an
example of a different approach to
that on the previous page. Instead of
darkening and de-saturating specific
colors to take attention from them,
the opposite was employed. I made
certain areas more vivid, bright and
contrasty, to bring more attention
to them and make them really pop
out of the frame.
Once again, here are the elements
that needed particular attention and
my thoughts behind the process.
1. This is probably the main area of
the story; the house and the sun-
kissed field next to it really needed
to pop out to make the story more
obvious and louder. The field was also
a good place to emphasize the magic
of golden morning light. I brightened
it and made it more vivid (saturated).
Contrast was then increased to make
everything within this part stand out.
2. I wanted to make the fog dramatic
and pronounced, so the whole area
was brightened (slightly) and contrast
was increased.
AFTER
3. The sun was beautifully
illuminating the rolling hills, but this
just didnt show in the untouched
image. I added a little saturation to
the yellows to emphasize the golden
light and increased the contrast to
make these parts pop out more.
At the end of the day I feel that these
actions have made a pretty good
photograph into a pretty powerful
one. With the adjustments the story
has become clearer and the mood has
been conveyed with more strength.
44
BEFORE
Making things disappear
in Photoshop
In some cases adjusting colors simply
isnt going to work. When de-saturated
or darkened, certain objects might
simply look odd.
The most effective solution is to
get rid of the unneeded object
completely, through the power of
Photoshop. Purist documentary
photographers may feel that this very
idea is heresy; however, everything
really depends on what you are
shooting for and on whether it is
worth saving the image or if it
can in fact be saved through the
disappearance of a particular color
(or a few colors).
You obviously could and should not
get rid of objects (and colors)
in Photoshop if youre shooting
reportage, but it makes sense to do
so if youre a commercial shooter,
portrait or wedding photographer or
even shooting travel images for stock,
as was the case with the above photo.
At the end of the day we have to
weigh our ideological beliefs against
the benefits.
You can see from the photograph
I have included above that all was
pretty much fine with this scene,
except for that orange pumpkin.
AFTER
The shot is primarily about the
gesture, the human relationship. One
could say that the peculiarly upturned
jar on the fence takes away attention
from the gesture too and while it
does to an extent, the proximity to
the gesture means that ultimately
it doesnt take the eye far from
whats most important. The pumpkin,
however, does. Its right in the corner,
it jumps out immediately and it has
no obvious connection to the gesture
or the people. On top of that it
changes the more sombre mood a
little too. It just disrupts the whole
rhythm of the image.
After some of my own pondering on
whether I should or shouldnt get rid
of something that was in the frame
after the shot was already taken,
I ended up using the content aware
spot healing brush in Photoshop CS
5 to make the pumpkin disappear.
A similar result could be achieved
with the clone stamp tool it
would simply be a little more time
consuming.
The final result is a saved
photograph, which wouldnt work as
well if I left it as it was. The story and
the mood are now conveyed more
effectively.
45

Some tools of the trade
Note: If youre planning to do any
serious color tweaking, its best to be
shooting in RAW format. This will give
you much more control and much less
loss of image quality.
This section is a brief overview of
some of the main tools that you will
have to get familiar with in order
to work with color effectively in
post-processing software like Adobe
Lightroom and Photoshop. I have
included screen captures to help you
locate the tools. Where the tool exists
in Lightroom and Photoshop (Camera
RAW) Ive included the Lightroom
screen grab. If theres no Lightroom
screen grab the tool only exists in
Photoshop. Aperture users will find
similar tools too (refer to manual).
For more in-depth information on the
practical side of post-processing, seek
out the myriad of great resources on
the web.
Color temperature/white
balance
These are the sliders responsible for
changing the color temperature in the
photographs. As you can see, theres
also a tint slider, which gives an
image either a green or cyan tint, in
addition to making it cool or warm.
Color balance
This is what the color balance controls
look like. You can see just how much
control you get over the tint that you
can give the image.
The tint can be applied to either the
shadows (darker tones in the image),
mid-tones or highlights. This provides
virtually countless nuances.
Shaping the story and mood through individual color adjustment
HSL (Hue, Saturation,
Luminance)
When you want to adjust one color
through the whole image, this is a
particularly useful tab. Hue changes
the tint of the particular color,
saturation will make it more or less
colorful and luminance will adjust
the brightness.
Some example uses might include
making a single red element within
the image stand out less by de-
saturating it and bringing down the
luminance or we might for example
want the sky to look brighter. In that
case we just have to increase the
luminance of the blue.
Adjustment brush
When making adjustment to select
areas of the frame, the adjustment
brush becomes your best friend. As
you can see by looking at the sliders,
the adjustment brush gives you the
power to change quite a few things.
Those of most note to color are
Exposure and Brightness, which
allow you to darken/brighten the
colors, Contrast to make certain
colors stand out and Saturation
to make an area of colors more
saturated/colorful or less so.
46
 Shaping the story and mood through individual color adjustment

Dodge and burn Content aware spot healing Clone stamp tool
brush
This was one of the first tools The clone stamp tool plays the
invented for individual color In circumstances when an unwanted same role as the content aware
adjustment and in some cases its element in the frame is against a spot healing brush. It can be more
convenience and amount of control fairly clean background, the content suitable in situations where the
is still unbeatable. aware spot healing brush will allow unwanted color isnt set against a
you to completely get rid of it with clean background, but it does take
Dodging makes something look
ease. Alternatively using a lasso more time to accomplish the same
brighter and burning darker. We
tool to outline the element you want things with this tool.
can adjust the shadows, mid-tones
to get rid of and doing a content
and highlights. This tool is particularly
aware fill (in the outline) will achieve
useful for the finishing touches,
a similar effect.
or more intricate areas, as I find
the usually prefered adjustment
brush tool a little clumsy in these
situations.

Exercise
The best way to learn to control color in post-processing is through tweaking all
those sliders and playing around as much as possible with all the tools mentioned
here. Experiment, see what results you end up with and try to take notes (mental
or on paper) on what youve achieved with each different adjustment. Its OK if
your results look completely hideous, the main point here is to learn what each
tool and slider does.
Remember: RAW files are non-destructive, meaning none of the changes you
make are permanent; however, .Jpegs are not non-destructive. Take care not to
accidentally save the results of your experiments over your original or important
.Jpeg images. When working with .Jpegs I suggest saving the file under a
different name; e.g. filename_experiment and doing all your experimenting on
that new file.

47
 Conclusion

Conclusion
The idea that Ive been echoing throughout this ebook is that color can
have a tremendous impact on our photography and that by no means Final Exercise
can it be treated simply as an afterthought. Theres obviously no better way to improve the way you work with color than
to actually make color photographs. I know that when things get confusing
To create worthwhile images in color, we have to possess a firm grasp
and challenging with color a lot of us have a tendency to say, Things are too
of how color works and how to work with it. I hope that I have helped complicated, Ill just convert the photo to black and white. This is in a sense the
you understand these subjects and that you are now familiar with some easy way out.
practical ideas on how to control color, during the shoot and in post-
Try to consciously make an effort to only see things in color, to only shoot color
processing. and post-process your images as color images. This doesnt have to be for the
rest of your days, simply set a duration of time for yourself that you are happy
While not everything that Ive mentioned in the ebook is applicable
with. By making a conscious effort to focus so much on color you will inevitably
in every situation, I do encourage you to try out as many of the things
gain a better understanding of how it works and how to work with it.
that Ive mentioned here as possible. At the end of the day, it is only
by thorough, practical application that we can truly gain a deeper
understanding and appreciation for color.

Finally, if youre serious about your photography, my advice is not to

stop here. Keep developing your sensibility towards color. Keep looking
at photographs, watching films and even trying to emulate what you
like every now and then. Remember, the journey never really stops.

48
 Share the love
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Darren Rowse