12 Color Wheel Cool Professional Drawings
For today's compositional lesson– I desire to talk about color theory— and how you lot can better employ colors when information technology comes to your street photography.
Personally around 2 years ago, I fabricated the switch from shooting fully black and white — to just shooting colour film (Kodak Portra 400).
Since then, I have learned to come across the globe in a totally unlike way. It has been fun, refreshing, and quite exciting.
However at the same time– shooting in color presented a new bag of worms. Whereas blackness and white tended to simplify a scene, color could be distracting and take away from a photo (if the colors didn't add pregnant and value).
So for this lesson we will talk about some colour theory — in terms of how we can make colors better work for united states of america. I am certainly non an good when it comes to working in color, only I will try to share some practical tips of how you can better shoot street photography in color.
Complementary colors
The kickoff theory nosotros will tackle is "Complementary colors." What are complementary colors? Well, this is the definition according to Wikipedia:
Complementary colors are colors which cancel each other's hue to produce an achromatic (white, gray or black) calorie-free mixture.
Complementary colors tend to work really well together– and create a overnice harmony that experience balanced.
If yous want to think of like shooting fish in a barrel complementary colors to think off the tiptop of your head. Here are some examples I came up with:
Sports Teams
Oft sports teams employ complementary colors. If you picket the NBA, here are some examples:
Los Angeles Lakers (Violet and Yellow)
New York Knicks (Bluish and Orange)
Beer
Marketers as well love to apply complementary colors when it comes to creating logos. For example, our beloved Heineken beer has the same "Christmas colors" (Ruby and Green)– which are probably the most famous complementary colors:
So at present let usa delve into some street photos that accept great complementary colors. We will draw heavily from Steve McCurry– one of the all-time color photographers alive:
Complementary colors: Cherry-Green
In this captivating portrait McCurry captured– y'all see two kids covered in all cerise powder. The kid in the foreground is looking straight at the photographic camera, with his piercing eyes and inquisitive expect. The groundwork is a blue-green hue, with some cherry-red marks on the left of the wall– and another child blurred in the right of the frame.
The child in the foreground looks curious– and reminds me of my curiosity when I was young too. And those eyes are just so powerful– it is an image that burns itself into my mind.
Do yous see the complementary colors in this shot? Yep, information technology is red and green. Because the background is a greenish-blueish hue, the red of the child's face really pops out from the background. In a more simplified color wheel, nosotros show it below:
This crimson-green dynamic as well occurs in one of his most famous photos– the Afghan Girl:
The crimson-green dynamic here is quite amazing. Offset of all, you lot have a simple green background, and hints of green in her tattered shirt– and of class, those amazing dark-green eyes. In terms of red, yous run into it in her vesture, and her skin. It creates a nice rhythm that alternates between red and green.
In terms of the image itself, information technology has a sense of mystery and intrigue. This young Afghan girl has clothing that is falling apart and is probably in a more than destitute condition, nonetheless she shows her power and willingness in her eyes. She seems to have the fire burning inside her that will assist her overcome whatever obstruction that confronts her.
A bit off-topic (thought y'all might be interested), only McCurry besides tracked downward the young daughter — and below is a photograph of her now (and before). She withal has that look in her eyes:
You can also see how having a sure color predominantly occupying the background– and having i effigy as a complementary color, it create a strong effigy-to-footing human relationship.
For example, in the photograph beneath– nosotros come across a predominantly carmine background– with the 1 effigy of the man in green. What happens? The greenish pops out at us:
A good examination if a photo has strong figure-to-ground is to mistiness the image. If you can yet run into who the predominant discipline is– the photo works:
Complementary colors: Orange-Blue
Some other complementary colors include the orange-blue dynamic. Steve McCurry has tons of smashing examples — by and large of monks.
Then y'all can see in this fun and quizzical epitome of a bunch of monks upside down (almost like spiderman)– in prayer position. The photo is first a bit puzzling, but once your mind wraps around what is going on — it becomes quite amazed past the strength and decision of these monks.
As you tin can run into, the orange of the skin of the monks (and their pants) juxtapose well against the faint blue of the background. If we refer to the color wheel below, you tin see that the orange-blue dynamic are strong complementary colors.
You can also see it in another photo past McCurry beneath (once again– monks):
Another cracking photo that shows this orangish-blueish dichotomy is this photograph below by David Alan Harvey:
Y'all meet a jet-blueish colour on the left side of the frame, with a boy gently smiling in the eye of the frame. Then on the right side of the frame, you have an orangeish-reddish colour, with an ominous looking (maybe sinister) shadow of a homo in a cowboy hat– approaching him. The photo makes me seem like it is impending danger– yet the male child looks so at-home and hopeful?
Warm vs Cool colors
Another color theory comes to "Warm" vs "Cool" colors. What are warm and cool colors? For warm colors– think about colors of a sunset:
Warm Colors
- Scarlet
- Orange
- Yellowish
Yous tin can also see them on a color wheel below:
Cool Colors
- Bluish
- Green
- Violet
So the theory of "warm" vs "cool" colors is that warm colors tend to be more active– and advance to you in a photo (or painting). And cool colors tend to recede into the groundwork— and are less active.
So if you draw the attributes of color — warm colors tend to be more active, stimulating, and energetic . Cool colors tend to exist more calming, relaxing, and chill .
Let u.s. look at some examples of warm vs absurd colors:
In this photo by Martin Parr, yous can see how the skin of the adult female is warm. Her peel is a orangeish-red hue. And the little blue eyepiece that covers her eyes are a deep bluish– that pop out at you the viewer.
In another photo by Steve McCurry– you can run across how the pink of the worker'southward clothes actually popular out from the mostly cold groundwork (white and grey colors).
In another photo by Steve McCurry of a Geisha in Kyoto– y'all see that the warm color of her red kimono pops out from the cool groundwork color that is a dirty white-greyness.
In a photo I took for my "Colors" project– I saw an interesting mural that is predominantly a cool colour (blue). The odd affair is that I saw a door croaky open by a warm color (orange) cone. The orangish pops out from the groundwork. I also retrieve the photograph is interesting and surreal because information technology is about like a backstairs in the universe.
In one of Eggleston's most famous images– you run across a adult female placing a straw inside her drink. The background is predominantly a cool color (the blue of the sky, and the white of the tray tabular array). And then y'all see the orangeish-red of her beverage (perhaps Coke) — information technology pops out as a strong color (warm).
In this photo by Alex Webb in which he shot on the outskirts of Tijuana, yous see the by and large absurd colors of the background. There is desolation and what appears to exist abandoned buildings. It is a quite moody and grim feeling prototype.
So you have the high-heels in the foreground, which are predominantly a very warm color — like the red of the loftier heels that merely pop out. It creates a fascinating juxtaposition between the dark mood of the groundwork, and the elegance of the high heels.
In this photo past David Alan Harvey, there is a mail service-apocalyptic mood of the ominous clouds in the background. The colors are mostly cool– with the exception of the daughter riding the vivid pink equus caballus in the middle of the frame. It is the one ray of hope and sunshine in the photograph.
There is too a great deal of surrealism in the photograph– the girl'southward face obscured by her jet-black hair. And her white dress– which is a symbol of purity and innocence. Then you have the nude black man in the photograph– which makes the photograph experience even more sensual.
Analogous Colors
Analogous Colors are also another color theory. The thought is pretty much that colors close to ane another on the colour cycle create a certain feeling and mood.
Warm Colors
In this famous photo by Steve McCurry– you have all these women huddled together in a sandstorm. The primary colors are the ruddy of their dresses, and the orangeish-yellowish hint of the sandstorm in the groundwork. It creates a warmth in the photo– of the women protecting ane another against the terror of the ferocious sandstorm.
If you look at the color bike below, the reds to the yellows are all next to ane another on the color cycle– that create a warm mood.
In one of the photos I took in Downtown LA — you meet a man donning a red adjust, complete with a pale yellowish shirt, bright yellow sunglasses, and a striped orange tie. The background colors are predominantly warm (with the yellow seats and tables)– with a bit of cool colors on the summit of the frame:
I experience that the mood of the photo is a very energetic and up-beat 1. The man in the photo is certainly a character– a very eccentric one. I get the impression that he is fix to popular his collar– to take on the earth– and he tin take on anything. Information technology is a very warm and inviting image.
The color blood-red is as well a metaphor for danger, caution, or warning. One of Eggleston's most famous images is that of a light bulb on top of a blood-carmine groundwork. The reddish of the background most feels like that of blood. If I can call up the photograph correctly, this photo was taken in the bedroom of one of Eggleston'due south good friends. Sadly a few years after Eggleston took this photograph, his friend died (I forget of what happened to him). The photo certainly does seem to exist a dark and sinister image– that of impending doom.
Cool Colors
There are besides photos out in that location that have primarily absurd colors. These photos brand y'all feel more calm, relaxed, and are much more mellow.
In this photo by David Alan Harvey, yous take a man looking as if he has his fingers interlocked every bit in prayer. Behind him is what seems to be his hat– sitting quietly by itself. Then the pastel-blue-green (and his bluish shirt) create a calm and relaxed mood. Information technology perfectly fits the somber mood of the human being in prayer.
In this photograph I took in Mumbai, you run across a man'southward hand over a bluish patterned background. The colors in the groundwork are predominantly blue– which adds to the relaxed and calm mood of the prototype.
In the in a higher place photo past William Eggleston, information technology is predominately cool. You have the moody pale blueish of the heaven, with it going the blueish-green of the mustang in the foreground. The woman in the machine is doing a fascinating mitt gesture with her left hand. Possibly she is signaling she is going to turn left? Or she is waving goodbye? Or she is but gently touching the cloth convertible elevation? The nice bear upon of this photograph is too the stoplight in the top left corner– which is supposed to control traffic and speed. And of course, the mustang is a symbol of speed.
But the overall mood of the photograph — with its absurd colors, feels calm and relaxed. It is the mood y'all go when information technology is a rainy and clouded solar day outside– and all you want to do is sit at home and drink hot cocoa.
In one of my favorite images, I took a photo of a man taking a nap at a beach in Marseille, in the s of French republic. The background of the h2o is a lovely blue-green hue, which puts you at ease. Of course the homo sleeping makes the photo feel fifty-fifty more relaxed. Therefore the photo makes me think of dreams, reverie, and no worries near the world.
Conclusion
So one of the questions you might be asking yourself is: "How conscious are the photographers of the colors and these color theories when they are actually out shooting these photos?"
I can't speak of other photographers — simply for myself now that I shoot exclusively colour, I specifically look for color when I am out shooting. I look for colorful people, colorful scenes, or colorful things. And and then of course in terms of whether the colors piece of work in harmony or non– that is sometimes luck, and is adamant in the editing stage.
However in the real world (when shooting street photogrpahy), the about applied way yous can apply color theory on the streets is the "warm" vs "cool" color theory.
For example, if y'all see a mostly cool groundwork color (blue, majestic, green)– effort to expect until someone with a warm color (blood-red, orange, yellow) shirt walks by. It can exist the other way too. You lot can look for a mostly warm background– and wait for someone with a cool colored shirt to step into the scene.
At the end of the twenty-four hours though it is easy to say whether colors work or not in hindsight. Merely I still think it is important for us to continue these color theories in mind. The more we think about it consciously, the more we can apply information technology when we are out shooting in the streets.
Also some other affair you want to think near is the value that shooting street photography in color adds. Are you simply shooting street photography in color for the sake of it? Or are you trying to create a certain mood through the colors you capture? Do the colors in your photo add context and meaning?
If you are interested in shooting more street photography in color– here are some of the best photographers I recommend you to check out their work:
Color Masters
- Alex Webb
- Martin Parr
- Constantine Manos
- David Alan Harvey
- Stephen Shore
- Joel Sternfeld
- Carl de Keyzer (run into his "ZONA" book)
- Alec Soth
Gimmicky Color Street Photographers
Below are some gimmicky street photographers whose color work I actually relish– in which color adds depth, emotion, and context to the photos:
- Jack Simon
- Justin Vogel
- Ola Billmont
- Simon Kossoff
- Maciej Dakowicz
- Caspar Claasen
- Matt Stuart
- Jesse Marlow
- Shin Noguchi
- Trevor Marczylo
Source: https://erickimphotography.com/blog/2013/11/26/street-photography-composition-lesson-12-color-theory/
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