The importance of color in photography cannot be overvalued. Tones and shades can evoke emotions, tell stories, and draw attention to key features within a frame.
The hues guide viewers’ eyes through a scene, highlight distinct subjects, and create proportion or tension between components. They are one of the most paramount tools in every photographer’s arsenal.
This article aims to familiarize you with the basics of color theory in photography by using well-known artists and their well-known works of them
The Color Wheel
The main goal of color theory is to explain how different shades combine and work together. To visualize and apply this knowledge, photographers, designers, artists, and visual content creators arrange all the tones into the color wheel.
Complementary Tones
Complementary shades are located on the opposite sides of the wheel. They are used to achieve vibrancy and tension. In landscape photography, complementary colors can help you create striking contrasts between natural elements.
For instance, use the contrast between a blue sky and a red-hued rock formation when photographing a desert at sunset. In portraits, complementary tones can guide the viewer’s eye to the focal point.
In Steve McCurry’s “Afghan Girl,” the muted green background complements Sharbat Gula’s red scarf, helping define her eyes.
Analogous Balance
The shades located next to each other on the wheel are known as analogous. In portrait photography, they can help create a harmonious and soothing atmosphere.
For instance, use shades of blue, teal, and green when photographing subjects in natural environments like forests or near water. In landscapes, analogous tones emphasize calmness and serenity, especially in the fall.
William Eggleston’s “Untitled (Memphis)” uses red, orange, and yellow on the background to evoke calmness and nostalgia.
The bicycle in the foreground does not match the overall analogous palette, but the photographer deliberately applied this trick for accentuation. However, cases when some compositional element ruins the color scheme are common. To eliminate this challenge, use a color remover from an image in your post-processing software.
Triadic Vibrancy
Three colors situated evenly around the color wheel are called triadic. They provide vibrancy and contrasts without risking the image’s balance and consistency. Michael Yamashita actively applies triadic schemes for pictures of the Great Wall.
During the golden hour, sunlight bathes the wall in an orange glow while the sky turns purple. Lush greenery surrounds the architectural marvel as an additional accent in this perfectly harmonized composition.
Magic Mix
The initial (primary) colors on the wheel are blue, yellow, and red. The combinations they make produce orange, green, and purple - secondary colors. When they are combined together, we create red-orange, blue-green, and yellow-green.
These shades are known as tertiary. Let’s examine the instances of each of these schemes redefining the atmosphere of the shot.
Primary Colors in Photography
Red, blue, and yellow are used for bold and striking images. A photography color palette with primary shades ensures the subject stands out and immediately catches the viewer’s eye.
Franco Fontana, for example, utilizes primary shades in his “Urban Landscapes” series. Minimalist compositions and laconic symmetrical shapes ensure that juicy colors are the main focal point, and the whole visual artistry can rely solely on them.
Secondary Colors in Photography: Examples
Secondary colors are especially effective for nature photography. In his “Fall Glow,” Marc Adamus showcases rich green forest foliage, orange leaves, and purple-tinged clouds during sunset.
This scheme includes a wide range of hues combined harmoniously. This approach works for captivating photos without visual overload.
Tertiary Colors for Your Shots
Tertiary shades are applied for cohesiveness, smooth transitions, and sophisticated concepts. Stephen Shore, particularly in his series “Uncommon Places,” subtly accentuates the everyday scenes with objects in tertiary colors.
These usually include cars and buildings to guide the viewer’s eye without unnecessary distractions. These tones emphasize the well-balanced compositions without overloading them.
Mind the Temperature
Cool colors photography utilizes blue, green, and purple.
These tones evoke a sense of comfort and can be creatively manipulated for a mysterious and melancholic vibe. Sangeeta Dey, in her “Crescendo,” uses a cool palette, from blueish-gray mountain pictures to turquoise lakes and silvery fog, to represent the culmination point of the music inside the human’s soul when they witness the natural majesty.
On the other hand, warm colors photography is applied for energetic, bustling shots, conveying a sense of passion when they are bright. Muted reds, oranges, and yellows are creatively utilized for a nostalgic, retro mood. Celebrity photographer Annie Leibovitz usually captured portraits of Queen Elizabeth using warm natural light. Golden clothes and props highlighted Her Majesty’s royal status. The Queen’s character combined strength and softness, so Leibovitz utilized warm palettes to transmit this balance to the audience.
Last Words
Color is one of the most powerful elements in photography.
Properly chosen shades can transform an average image into a fascinating story filled with emotion, contrast, and harmony.
Color theory in photography is essential for aesthetically appealing and emotionally evoking shots. Tones and shades can help you guide the viewer’s eye and establish an emotional connection in every style and genre, from portraits to landscapes, from photojournalism to conceptual art.
