exploring color photography

8/13/2019 Exploring Color Photography

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Exploring Color

Photography

This top cutaway view of the humanskull reveals how color

images are believed to be formed in

the brain.


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Exploring Color

Photography

Adam Fuss says, The lens is amanipulation of an image. To

me the photogram is a non-

manipulation of the object and the

interaction

of the object with light and the direct

recording of that. To me thats pure

photographic imagery. Its a differentlanguage of light. The one with the

camera has seemingly a lot more

detailed information, but I find that

there

is information of a different kind that is

no less rich.

Adam Fuss. Untitled, 2001. 6134 5014 inches. Dye-destruction print.

Courtesy of Cheim & Read, New York,

NY.


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The ovals in this illustration are thesame color. The oval on

the right appears to have a greater

luminance than the oval on the left

because both color luminance and

saturation are subjective and

dependent

on the surrounding colors.


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The two halves of the circle are thesame color, yet the human

eye does not see them as the same

color. This phenomenon is an example

of color relativity.


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Stare steadily at the black invertedtriangle on the left, and

then quickly shift your focus to the

inverted triangle at the right. In the

reversed afterimage the white areas of

the original will appear as blue and

the blue areas as pale orange.


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Using digital technology, AkihikoMiyoshi makes grid images

out of photographs of urban

landscapes and natural scenes. The

colors rendered

in each grid are averaged and reduced

into a single color. Elemental

properties of color are distilled tocreate landscapes from the colors that

are present in the original image. A

liberation of color from form occurs

without obliterating the recognizable

value of the original image.

Akihiko Miyoshi. Harlem, New York,

NY, 2003. 20 x 24 inches. Inkjet

print.


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To balance the natural light from the sunsetwith the artificial light shining on the

spacecraft, Roland Miller used a spot meterto measure the area

of the sky that he wanted to use as amidtone and compared that with readingstaken from the neutral midtones in the

launch tower. When he later color-corrected

the image in Photoshop, Miller determinedthe neutrality of the midtones by using theColor sample tool and establishing an

appropriate compromise

of the colors from the varying light sources.As an imagemaker, he believes in striving fora balance between technique and aesthetics.He elaborates,

It is important to attain technicalcompetence in order to gain control of themedia, but not to meet some false

expectation of the craft. On the other hand,a wonderful concept, poorly executed, fails

to be wonderful. One of my goals is to find anappropriate equilibrium.

Roland Miller. STS125 Atlantis Sunset,2009. 20 24 inches. Inkjet print.

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