Color theory encompasses a multitude of definitions, concepts and design applications. All the information would fill several encyclopaedias. As an introduction, here are a few basic concepts.
A continuous light such as a torch or candle can be mixed with flash light to create a composite negative with two exposures.
How to get this effect:
1. Set the camera to multiple exposure.
2. Use the camera on a tripod with a cable release.
3. Meter for the flash light (or overhead/daylight in the case of the Picasso or Dance Hall images) and make the 1st exposure.
4. Then in a darkened space where the torch is the only light source use a long exposure to record the movement of the torch (this could be about 20 seconds for example).
5. The torch light will register much better on a dark background than a white one.
Scenes that are light overall, such as a snow scene, can look too dark in the final photograph if you make just an overall reading or let an automatic camera make one for you. The reason is that the meter will make its usual assumption that it is pointed at a scene consisting of light, medium, and dark tones, and it will expose the film accordingly. But this will underexpose a scene that consists mostly of light tones, resulting in a too-dark final photograph. Try giving one or two stops extra exposure to such scenes.
The Zone System is the simplest and best method yet devised for planning an exposure. Created by Ansel Adams and expounded by Minor White and others, it is more than just a shirt-sleeve approach to sensitometry; it is an elegant method of integrating all the decisions and techniques of exposure control. …
The zone system was invented by Ansel Adams, one of the most famous photographers ever. He was a master of technique, and had an eye for light that few are blessed with. His photographs were the result of a happy combination of comprehensive technique and the knack of taking a picture when the light was at its best. A distinguishing feature of his black and white photographs is how light and dark areas play off each other in an instantly appealing manner.
This chapter discusses how our light-sensitive camera materials work, especially colour films. It traces the way that ingenious principles have been put into practice and compares how films record relative to the way our eyes see subjects directly. So the chapter begins by describing how eyes and brain receive and interpret the sensation of colours and comparing this with the far more fixed chemical response of colour films. Differences between seeing and photographing are important to grasp in order to control results. …
Colour Film consists of three light sensitive layers. Each of which responds to about one-third of the colours in the light spectrum. Each layer is matched to a primary colour dye that is built into the emulsion or added during processing, and every colour in the spectrum can be produced by mixing varying proportions of the colour primaries. …
How do you utilise mixed lighting indoors? What problem arise and how can you solve them? This article by David Askham will give some of the answers, based on the author’s experience in a wide range of commercial assigments in work places, stately homes and domestic interiors. …
An open-source guide to working with light by Dan Nguyen
The Bastards Book of Photography is a visual guide for learning your camera’s manual controls in order to make beautiful photographs. No flash or other fancy equipment required.
The following table shows the correlated colour temperature of common light sources:
Color Temperature
Light Source
1000-2000 K
Candlelight
2500-3500 K
Tungsten Bulb (household variety)
3000-4000 K
Sunrise/Sunset (clear sky)
4000-5000 K
Fluorescent Lamps
5000-5500 K
Electronic Flash
5000-6500 K
Daylight with Clear Sky (sun overhead)
6500-8000 K
Moderately Overcast Sky
9000-10000 K
Shade or Heavily Overcast Sky
Here is a visual representation of the Kelvin temperature scale. Notice how lower temperatures are very warm, and following the color spectrum, increase in numeric value as they become cooler.
White light, such as that from the sun, contains all the colours of the spectrum. Pass light throught the prism and it will brake into the rainbows of colours. …
