Colors are perceived differently based on their relationships and context. Red appears different next to blue versus green, and yellow has a different intensity against black versus white. Photography allows control over hue, saturation, and brightness of colors. However, determining the right adjustments is still new. There is no consensus on correct color combinations as color preferences are subjective, though some combinations tend to be more widely accepted. Theories on color harmony have varied over time between fitting together and pleasing assemblies based on tastes that change.
Colors are perceived differently based on their relationships and context. Red appears different next to blue versus green, and yellow has a different intensity against black versus white. Photography allows control over hue, saturation, and brightness of colors. However, determining the right adjustments is still new. There is no consensus on correct color combinations as color preferences are subjective, though some combinations tend to be more widely accepted. Theories on color harmony have varied over time between fitting together and pleasing assemblies based on tastes that change.
Colors are perceived differently based on their relationships and context. Red appears different next to blue versus green, and yellow has a different intensity against black versus white. Photography allows control over hue, saturation, and brightness of colors. However, determining the right adjustments is still new. There is no consensus on correct color combinations as color preferences are subjective, though some combinations tend to be more widely accepted. Theories on color harmony have varied over time between fitting together and pleasing assemblies based on tastes that change.
relationship to each other—and they are perceived differently according to the other colors they are seen next to. Red next to blue appears to have a different nature from red next to green, and yellow against a black background has a different intensity from yellow against white. Digital photography now gives a huge degree of control over the appearance of color in a photograph, and the hue, saturation, and brightness are all adjustable. To what extent and in what direction these adjustments should be #/,/2 4%-0%2!452% made is a relatively new issue for photography. 4HE WARMTH OF DIRECT SUNLIGHT CONTRASTS WITH Arguably the greatest problem with color THE HIGHER COLOR TEMPERATURE OF REFLECTED SKY in photography and in art is the notion of rightness and wrongness. As we’ve just seen (pages 114-115), colors evoke reactions in the viewer that range from the physiological to the emotional, yet few people are able to articulate why they like or dislike certain colors and certain combinations. Indeed, few people are interested in analyzing their visual preferences, while at the same time expressing definite reactions. As early as the fourth century BC, the Greeks saw a possible connection between the scale of colors and the scale of music, and even '2%%.
/2!.'% applied color terminology to music by defining 4HE GREEN COLOR HERE CONTRASTS WITH THE the chromatic scale, which was divided into ORANGE OF REFLECTED LIGHT IN THIS POOL semitones. This relationship has persisted, and it was a short step from this to theories of harmony. Harmony in both music and color has had different meanings throughout history, from the Greek sense of fitting together to the more modern one of a pleasing assembly. Taste and fashion enter this, with the result that there have been many, and conflicting, theories about how colors “ought” to be combined. This is a huge subject, dealt with at some length in my book Digital Photography Expert: Color, and in the greatest detail of all in John Gage’s Color and Culture, but here I’m concerned with the need to take a balanced, non-dogmatic view. On the one hand, there are ways of combining /2!.'%
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'2%%. colors that tend to be acceptable to most viewers, ! CLASSIC AND BY NO MEANS UNCOMMON 4HE PINK OF THIS MAN´S ROBE IS IN ALMOST DIRECT 2ED FEATHERS CONTRAST WITH THE GREEN FOLIAGE and it would be foolish to ignore them. On PHOTOGRAPHIC COLOR COMBINATION OPPOSITION TO THE HUE OF THE GRASS BENEATH SEEMING TO LIFT THE BIRDS FROM THE BACKGROUND