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Exploring with a Camera: The Color Wheel, Part 1

I love color in photography. I love the energy and emotion you can convey through color. There is a peaceful beauty in black and white, but there is so much richness and depth in color! For the next month in Exploring with a Camera we are going to look at color. Using the color wheel as a guide, I’m going to take a look at how colors work together and how you can use that to create photographs with beauty and impact.

I was browsing a used bookstore with this topic in mind and came across the Color Workbook by Becky Koenig. What a great find! In the preface she writes:

Color is both a physical and an emotional human phenomenon. We respond to color because of its associations. We each have our personal preferences for particular color combinations. Our experience of the world is in some ways characterized by our observation of color: a green apple, a red sports car, the pink sky of a sunset, the blue of a robin’s egg. These colors evoke not only an outward experience but also form colors in our memory, our inner eye. Color is not simply a decorative element in art, but a part of our inner consciousness. Color is life enhancing.

Yes! Color is life enhancing. How you see, use and portray color in your photographs is part of your eye. We may not understand why certain color combinations work to create the feel they do in our images, but there is a science and study of color that can help explain it. Let’s start with the basic color wheel.*

The idea behind the color wheel is that color is a continuum. You start with the primary colors, Yellow, Red and Blue. These mix to form the secondary colors, Green, Orange and Violet (Purple). There is an intermediate color that comes from mixing a primary and secondary, noted by two letters such as “RV” for Red-Violet. These twelve colors, 3 primary, 3 secondary and 6 tertiary, form the basic color wheel. The remainder of the colors come from mixing these 12 in various ways or with neutral colors – black, white, brown. Using this as a base, we can explore the different color combinations.

Now, I don’t anticipate that in our photography we are going to go around with a color wheel looking for color combinations before we take a photograph most of the time. Looking at the color wheel relative to our photographs or those of others can help us understand how and why certain color combinations works. It can help us identify what we use most often and respond to in our images. That study will inform our images at the time of capture in the future. We may be more in tune with color and how to use it the next time we go to shoot.

To start us off in Part 1 of this study today, we are a going to look at the simpler color schemes or “harmonies” as the Color Workbook calls them.

Monochromatic

The first color harmony is the simplest, monochromatic or one color. You may need to reset your definition of “monochromatic” a bit, because in photography “monochromatic” often refers to black and white or images with a single tone, like sepia. This type of image is certainly monochromatic, but let’s look at monochromatic color.

I use the monochromatic color harmony a lot. It creates a unified and cohesive image. My favorite pink shutter and wall in Burano is a good example of a monochromatic color scheme. All shades of Red-Violet, with accents that are neutral in the shutter holder and the board behind the peeling paint.

Another favorite monochromatic image is this door handle and lock from Greece. You can see in both of these images how framing a small portion of a larger scene can lead to a monochromatic image.

Framing a small portion is not the only way to get a monochromatic image, however. Another favorite from Greece shows an image that is primarily monochromatic, with the blue door, sink and gas can. There is a tiny pop of red in the faucet, but the rest is neutral and the overall color impression you have in this image is “blue.”

This monochromatic image, from Burano, is green. Again, it’s not all green, but the image is primarily shades of green and the remainder is neutral.

Monochromatic color schemes are great in our photographs because they can unify multiple diverse elements, as in the example of the door and the chair above. Monochromatic schemes can also help to convey a third element, like texture, as seen in the shutter and door handle. Just remember – monochromatic doesn’t mean only black and white. There is so much energy and emotion to be added to an image with color!

Analogous

Moving into a slightly more complex color harmony from the color wheel, when you take two or three neighboring colors on the wheel you have an analogous color scheme. Analogous color schemes always have at least one color in common. In the diagram below, the common color is orange.

I see analogous color schemes in my images a lot, mainly in the red-orange-yellow part of the color wheel. This window in Switzerland is a great example. The grey and green serve the purpose of neutral and we see mostly the yellow and orange of the pots and window frame.

Nature is the best at creating analogous color schemes! These flowers, found in the Nice flower market, are a good example. The flowers themselves, highlighted in that beautiful light, create a lovely analogous image.

Designers use color schemes in advertising all the time to catch our eye! The analogous red-orange found in this window display is a good example. The bright, unified color along with the shiny baubles really caught my eye.

You can see how much I use the yellow-orange-red part of the wheel! That just reflects my personal color preferences. The analogous schemes you find might be in a completely different part of the wheel. Here is another analogous image, this time with blue and green. The green you see is more toward blue than yellow, which leads to a harmonious color image.

Chromatic Gradation

 Expanding to include more colors on the color wheel leads to a chromatic gradation. This is where you move through a range of several colors in sequence along the color wheel. The diagram below shows a gradation from blue to red on the wheel, encompassing violet.

These flowers from Barcelona use a chromatic gradation. From red to yellow on the color wheel, also covering oranges and pinks. It is still a unified color scheme, but a bit more dynamic than a monochromatic or analogous.

The lead-in image of the post, from the Corvallis Saturday Market, uses a progression from red to yellow as well. Another market scene, from Padua below, has a color progression from red all the way to yellow-green on the the color wheel.

Do you see how much I like the yellow-orange-red part of the color wheel? It shows up again and again in my images! I will have to look for some other examples this week to see what I can find.

The Color Wheel, Part 1 Summary

The color schemes we’re looking at for this exploration are harmonious and peaceful. They are easy on the eye, because of the way they relate to the other colors on the color wheel. Just a quick recap:

  • Monochromatic – Images have one dominant color from the color wheel. You may see variations in the shades of that color, have neutrals or even small amounts of other colors, but the overall impression is of one color in the image.
  • Analogous – Images have two to three colors adjacent colors on the color wheel. There is one color in common, and the other colors used have some small amount of that color.
  • Chromatic Gradation – Images have a number of colors that can be found in sequence on the color wheel. 
For the next two weeks, take a look through your archives or keep an eye out as you photograph for these three color schemes. You can link your images below or share in the Flickr pool for a chance to be featured on the blog. Visit the links shared by your fellow participants to see more color schemes. Since we all have different color preferences, it will be interesting and fun to see how we all view the world in color! 

FYI – Links will be moderated. Please use a permalink, ensure that your linked image is on topic, and include a link back to this site in your post through the Exploring with a Camera button (available here) or a text link. Thanks!

*The basic color wheel image is by Eyoungsmc and is used here by creative commons license. All notations added to the color wheel image are mine.

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What were you made for?


Oh, color. Bright and varied color. Deliciously vibrant color. How I love color. It fills me with such happiness to find an image such as this, among the peppers at the Farmer’s Market. I think this beautiful pile of peppers was made for me, or maybe I was made for it.

I was reading a guest post by Megan Eckman on the Scoutie Girl blog this morning, where she says, “I believe that if you truly love doing something, you were definitely designed to do it, and thus you’re as ‘real’ as can be!” She was speaking in the context of whether or not she is a “real” artist, but I love the idea of being designed to do something. I want to play with that concept a bit…

Am I designed to see and capture vibrant color? Yes. I find it everywhere.
Am I designed to be inspired by beautiful details wherever I go? Absolutely, no matter the place, I find the details that make it unique.
Am I designed to bridge the gap? Maybe. Your comments on Friday’s post have me thinking hard.
Am I designed to help others find their own unique vision? I think so.

As we finished up the July-August Find Your Eye series this week, it was a good opportunity for me to take a look at the bigger picture around these classes. I look back and see a wonderful journey the participants and I traveled together in the last six weeks. I discovered I don’t see myself as a “teacher” imparting knowledge from some place on high. I merely share some ideas from my own journey and step back and watch where each participant chooses to go. I learn with them, I grow with them. I see what they were made for, their unique vision of the world as it is revealed to them from somewhere deep inside. Wow. I am part guide, part witness. It has been an absolute honor to be in this position. Even better, to see the connections made between the participants, as we share the journey together.

A year ago, while I was first writing the Find Your Eye course, I was explaining the concept to my sister. She jokingly made the comment, “Trust you to get all cerebral about photography!” You see, she knows through our long history together that I’m an inquisitive thinker. I like to understand the “why” behind things that matter to me. I’m also a goal-setter, a planner and a doer, so if I set my mind to do something, I find a way to get it done. Another key trait I’ve always had, but only recently recognized, is that of enthusiastic sharer. If I love something, it bursts out of me and in my enthusiasm I have to share it with others. I seem to channel that enthusiasm for different interests into teaching in some way. I clearly see all this as I look back on my personal journey.

Am I designed to help others find their own unique vision? Hell, yes. I was made for this. 

What were you made for? What is your unique point of view? If you want to find out, we can do it together. There is another guided journey starting shortly, as the fall Find Your Eye series starts September 25. I would love to bear witness to your journey too.  

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What’s going on around The Kat Eye View of the World…

  • Linking in to Creative Exchange today, hosted by the lovely Lisa Gordon. Lisa’s premise with the Creative Exchange is, “Your camera in one hand, your heart in the other.” I love that point of view! 
  • The current Exploring with a Camera theme is Process of Elimination and you only have one day left to share your view! Check out the post and explore with us. 
  • I am musing today on Faces over on Mortal Muses. Come by and say hi!

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How are you Hard-Wired?

Each of us is hard-wired a certain way. And that hard-wiring insinuates itself into our work. That’s not a bad thing. Actually, it’s what the world expects from you. We want our artists to take the mundane materials of our lives, run it through their imaginations, and surprise us. If you are by nature a loner, a crusader, an outsider, a jester, a romantic, a melancholic, or any one of a dozen personalities, that quality will shine through in your work.
— Twyla Tharp in The Creative Habit

I ran across this quote while reading over the weekend and said a huge “YES!” It’s always amazing to me when I read the work of these famous, creative people and it basically restates what I’ve come to believe through my own experiences. This quote from Twyla Tharp in her book The Creative Habit: Learn It and Use It for Life so completely expresses the idea behind my Find Your Eye classes: We all have a unique vision to share with the world, and it comes through in our work. We just have to look for it.
In my photography, I find that I typically like the scenes that show both details and context. Not the grand sweeping vistas so much or super close-up details, although you will see those on occasion. This one, a new one in my market/wheels series, is from Milan. A little scene of a market in the Brera district, the same market as my Orange Power shot but a different perspective capturing different details. Kind of typical of my work, don’t you think? Not just in this series, but in the selection of composition, subject, camera settings. How are you hard-wired in your art? Do you know? If you’re a photographer, I can help you find out in the Find Your Eye series of classes, and I’m so excited about that! Registration is open now if you’re interested.
I’m barely into reading The Creative Habit and it’s fantastic so far. It’s been great to get my back into my own creative habits of journaling, reading and blogging in the mornings since the move. Together, these habits are my personal recipe to keeping me grounded, aware and creatively charged. I look forward to reading more of Twyla’s wisdom in the coming days. You can expect me to share the bits and pieces I find interesting here! 

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Orange Power

Imagine my joy: On Saturday, while wandering the streets of Milan for a last time, I found another image for my market/wheels series. And not only that, but the scooter is my “power color” – Orange! What luck!  I find orange to be an energetic color, full of life. For some reason, when I use the color orange, in my art, on my blog or in my clothes, it gives me courage. Courage to be different, to stand out, to be myself. Courage to share the “Kat Eye View.” This discovery has sort of happened organically over the last year, and now I love anything orange. So I couldn’t help but enjoy this scene immensely. Thank you, Italy, for another wonderful gift.

How about you? Do you have a power color? How did it come about? I would love to hear your story too!

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Florence Market, and an Announcement!

Our weekend in Florence was enjoyable, and confirmed once again that the back alley wanderings are the most fruitful for my photography. This lovely scene, another addition to my market/wheels series, was found taking a side street as we wandered.

This is our second visit to Florence, and I found I had gotten all of the Duomo-and-Ponte-Vecchio pictures out of my system the first trip. We visited a couple of lesser known museums (Bargello, for some fantastic sculpture, and the Museum of the History of Science, which houses some of Galilleo’s original instruments) and then wandered what we could find of back streets. Oh, and shopped for Florentine paper! There may be another giveaway, coming soon to a blog near you.

But today… as promised on Friday, I have an announcement…

Today I am launching a newsletter for my blog!  I’m so excited to have another way to chat with you, through an email newsletter that I will be sending once or twice a month. It will include articles on art, creativity, photography and interesting places, notifications and special offers on my classes, and will provide you a handy reference to what is happening on my blog in case you miss a post or two. Won’t that be nice?

As a thank you for signing up, I’ve created this little book on basic composition that I call a “Camera Companion” that you can fold up and put in your camera bag. Whenever you are feeling stuck you can pull this out and get a few ideas to help you, in the moment. The download and instructions to make the Camera Companion will come via email as soon as you sign up.

There was a lot of prep work to get all of this ready to launch today, and I have to thank my son for his help in filming a video. He was so funny, he had to go find these headphones, just so he would “look” the part of the director. He took his job seriously though, directing me quite well.

Aren’t you curious now, to see the video we made together? You’ll have to come sign up for the newsletter to see it! Just enter your information in the box on the left sidebar, as shown below. You’ll need to confirm your subscription via a link that will arrive in your email, and then you’ll get your first message from me in your inbox. I can’t wait to share all of this with you!

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Exploring with a Camera: Waiting to Click

Exploring Patience in Photography 3

Welcome to Exploring with a Camera! This next couple of weeks we are going to be Waiting to Click. As always, I have a lot of ideas to share with you in this post and then there is a link up at the bottom for you to share your images on the topic. You can also share your photos in the Flickr pool if you are interested in being featured on the blog.

There is so much of our world that is changeable. When you tune in to it, you begin to notice the ebb and flow of life around us. “Waiting to Click” is about being aware of the changeable things in our environment, predicting what is going to happen and then waiting to capture the image we’ve anticipated. So often photographers talking about being ready, having the camera with us and available to shoot, in order to capture a fleeting moment as we see it unfold. Waiting to Click takes the readiness a bit further, adding a bit of both prediction and patience into the mix.

To get a great image by Waiting to Click requires your active participation. Here is what you have to do:

  1. Be aware of what is changeable in your environment. We live in a world of change, whether it’s the flow of traffic or the clouds blowing by, there are variables that affect the potential for us to make good images. By noticing the things that are moving and changing, and how they change relative to the things that are fixed, we can make use of them in our photography.
  2. See the image you want to capture. You need to see the potential shot. This may mean looking through or past the changeable things in the environment, or predicting their behavior to include them in the image you want to capture. 
  3. Know your equipment. In order to take advantage of a changing situation, you have to know your camera. What is the delay between shutter press and release? What is the timing if you use burst? I know we are talking about fractions of a second here for dSLRs, but those fractions of a second may matter. For point-and-shoots or phone cameras, the delay is longer and you really have to be able to coordinate the pressing of the shutter with the prediction of the shot.
  4. Wait for the shot to unfold, then capture it. This is the key. This could mean waiting for several seconds, or it could mean waiting minutes. Professional photographers might wait all day for the perfect light to capture the image they see. How long you are willing to wait is up to you.

Now let’s see a few examples of Waiting to Click, to further explain what I mean…

Moving Vehicles


Vehicles of all sorts are always moving around us, when we are out and about in the streets. You may recognize the lead-in image for this post as another in my emerging market/wheels series, and the capture of this shot is a great example of Waiting to Click. I saw this image across a very busy street in Siracusa, Sicily. I paused for a while and watched the traffic flow. There were a few moments in each traffic light cycle, where the cars passing by on the street cleared out just long enough to photograph a few frames. While traffic was going by, I looked at possible angles and compositions, and situated myself in the best spot for the image I envisioned. I waited for the next traffic light cycle, and the moment the cars cleared out, I got the shot.

In some cases, you want the moving vehicle in the shot, like this one of the Milan subway I captured with my iPhone camera. This was my first outing with the camera, and I was just getting used to the delay. I was fascinated by the crowd on the other side of the subway platform and thought it would be a great shot to have the crowd behind the train pulling into the station, so I practiced with a couple of shots of the crowd to get the framing and camera timing down. Then, when I heard the train coming, I was ready to click as soon as it entered the frame and captured the image I wanted.

The light this particular evening in the Venetian Lagoon was spectacular. I took several images of the sky but knew the shot would be more interesting with a boat in the foreground. I had my exposure and composition dialed in, it was just a matter of waiting for the right opportunity to come along. When this boat came by, I was ready and waiting to click.

People


We are often surrounded by our fellow human beings, and depending on the shot you want, that can be a good thing or a bad thing. You might think that Europe is an empty place, from my photographs. I really love to capture an empty street or place, to allow the viewer room to imagine themselves in the frame. To do this, I often have to wait for a lull. Just like cars, the flow of people will change, but it’s less predictable. Here is another in my market/wheels series, captured in Bologna. It looks like this was a deserted street, but this was a busy Saturday afternoon, the weather was nice, and people were out on the streets in force. I used the times when there were people coming by to set up the shot and play around with composition. When I found the image I wanted, I waited for the people to leave the frame, and clicked.

Here is another image where I waited for the frame to clear, with the exception of the people seated on the left. Evening at the Roman Baths in Bath, England is certainly quieter than the day, but there were still many people wandering around and listening to their audioguides. (I’ve learned to dislike audioguides – people stand immobile for minutes on end gazing at something while listening to the commentary, much longer than they do without the audioguide.) Meanwhile, I patiently waited for them to move on so I could get the right image. 

Often, your image will be enhanced with a person or two in just the right spot. The next two examples, from Cinque Terre and Bath, are images where the mood is further conveyed by the people in the frame. In both cases, I had to wait until the subjects walked into the right light to capture the image.

So far I’ve shown you empty or mostly empty places – what about crowds? I’ve learned quite a bit about photographing a crowd over the last couple of years. Capturing a crowd can convey the energy, the hustle and bustle of a place, but it has to be done right. In general, I’ve discovered that for a good crowd shot, you want to have full bodies – partial people walking into the frame or cutting off feet is distracting. For a generalized crowd, you also want the people to either be small enough their faces aren’t easily distinguishable or facing away from the camera. Nothing attracts the human eye quite as much as a face, so your crowd shot can become an unintentional image of a specific person if you’re not mindful. Here’s a comparison of two images within moments of each other in Madrid. The first shot is one I would consider a nice crowd-in-the-street scene, the second has more crowd distractions.

Crowds ebb and flow, which is a great thing. Unless you are in an insanely crowded place (like Venice at Carnevale), you can usually situate yourself in a good location and wait for the crowd to disperse itself in a way that works for your intended image. This example from Venice (not during Carnevale) was one where I waited for a good crowd position before pressing the shutter.

The Natural Elements


So far I’ve talked about human elements, but natural elements – such as light and wind – are some of the more changeable features in our world. As photographers, we live for light, so being aware of the light you are working with and how it may change is an important skill. Partly cloudy and windy days can be great days for waiting to click.

The following set of images from Stonehenge show how just a few moments difference on a partly cloudy day can make a huge difference in an image. Watching the light, and waiting to click at the right moment, can pay off big dividends in your images.

You may remember this group of three image from Cascais, Portugal.  This another time when I waited for the right light to click. The sun was going in and out of the clouds, and without the dappled light this image was not the same. I waited for quite a while for the sun to come out from behind the clouds to capture this scene.
For the next example, it was the wind that made a difference. With wind, you sometimes have to wait for a gust or wait between gusts, depending on what you want to capture. In this image of the main street of Murten, Switzerland, I had to wait for the breeze to die down so that the flags were hanging straight and clearly visible. A subtle detail, but one that means the difference between you being able to tell the location by looking at the image or not.
I’ve shown you a lot of examples where my patience paid off, but also realize that waiting to click doesn’t always work out. There are times when the elements don’t change as you predicted. There are times when you can’t wait as long as you like – the people you with are impatient or you have someplace to be at a certain time. But when you are aware of your environment, seeing the opportunities and waiting to click – sometimes magic happens. 
Wait for it…
Wait for it…
Click.
I can’t wait to see the images you captured by Waiting to Click, new or archive shots are welcome. Link your images in below or put them in the Flick pool. If you have the opportunity to comment on how you set up the shot and waited to click, that would be fun to read. I would love it if you want to add my button to your post, you can find the code here.