![\"yellow](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2022\/05\/opening-image.jpg\")
<\/a>\t\t\tRed and green sit opposite each other on a traditional colour wheel and are considered complementary. Image: Tracy Calder<\/p>\n\t\t<\/div>\n\t\t\n
These cells send signals to the brain, which then translates this information into what we understand as colour. (There are plenty of more in-depth explanations online!) How the brain \u2018reads\u2019 this information varies slightly (or sometimes even significantly) between individuals \u2013 hence the confusion over the aforementioned dress.<\/p>\n
As Josef Albers notes in his book Interaction of Color, \u2018If one says \u201cRed\u201d (the name of a color) and there are 50 people listening, it can be expected that there will be 50 reds in their minds. And one can be sure that all these reds will be very different.\u2019 Once the brain gets involved, it uses a mixture of experience and guesswork to process the information and label the colour as yellow, green, blue etc.<\/p>\n
Embracing colour psychology<\/h3>\n
The idea that colour can have a profound effect on the mind and body is nothing new. In fact, the Egyptians believed that certain colours could be used to treat fatigue and skin disorders. But it wasn\u2019t until 1810, when multi-skilled poet, artist and politician Johann Wolfgang von Goethe published Theory of Colours that colour psychology became a field worthy of exploration by prominent philosophers, physicists and artists.<\/p>\n
Goethe believed that colours could impact (and influence) our moods and emotions, and it\u2019s a theory that has been tested by artists, interior designers, fashion labels and healthcare providers ever since. Blue and green, for instance, are considered cool colours and are said to boost feelings of tranquillity and peace, whereas red and yellow are thought to be warm and are linked to danger, excitement and sometimes raised blood pressure!<\/p>\n
(Of course, the psychological effect of colours can vary between cultures: black, for instance, is associated with death and mourning in some parts of the world, whereas white has similar connotations elsewhere \u2013 and, yes, I know white is not strictly a colour!)<\/p>\n\t\t
<\/a>\t\t\tWhen red and yellow have the same saturation they work well together. Image: Tracy Calder<\/p>\n\t\t<\/div>\n\t\t\n
Understanding colour theory<\/h3>\n
To understand colour theory, we need to return to the experiments of Newton. Having proven that colour is not a physical property of an object, Newton went on
\nto show that a ray of white light can be refracted via a glass prism to create a visible spectrum of colour \u2013 comprising red, orange, yellow, green, blue, indigo and violet. He was not the first to discover this rainbow, but he is thought to be the first to translate this information into what we now understand as an artist\u2019s colour wheel.<\/p>\n
At first, Newton arranged the colours in a grid format, noting the relationships between them, but he later positioned them onto a rotating disc (or wheel). How much of the wheel was apportioned to each colour depended on its wavelength and its width in the colour spectrum. (If you spin one of these discs, the colours will recombine to create white \u2013 another of Newton\u2019s great discoveries.)<\/p>\n
The colour wheel is a useful aid for painters, photographers, designers and scientists as it allows the relationship between primary, secondary and tertiary colours to be seen at a glance.<\/p>\n\t\t
<\/a>\t\t\tRed and red\/violet sit next to each other on a traditional colour wheel and are considered analogous. Image: Tracy Calder<\/p>\n\t\t<\/div>\n\t\t\n
Using an artist\u2019s colour wheel<\/h3>\n
A traditional artist\u2019s colour wheel uses the additive colour system, which has three primary colours: red, yellow and blue, placed equidistant from each other. Colour wheels that feature red, green and blue as their primary colours use the subtractive colour system. (You can learn more about both colour systems online.) When you mix two or more primary colours together you get secondary colours, which are placed on the wheel between the primaries.<\/p>\n
When you mix secondary colours (or a primary and a secondary colour) you get tertiary colours, which fill the gaps between the primary and secondary colours. When you look at an artist\u2019s colour wheel you can see the effect one colour has on another \u2013 and that\u2019s where the fun starts. Most of the time, we make decisions around colour intuitively: when we get dressed in the morning most of us don\u2019t consult a colour wheel before pairing up a top and trousers, for instance.<\/p>\n
But by fine-tuning this instinct we can remove some of the guesswork and make conscious decisions about how we use colour to convey personal style as well as influence the moods and emotions of those people around us. This knowledge can be applied to many areas of our life \u2013 from fashion choices and home d\u00e9cor to, of course, photography.<\/p>\n\t\t
<\/a>\t\t\tA detailed colour wheel teaches and inspires<\/p>\n\t\t<\/div>\n\t\t\n\n
Making the most of colour harmonies<\/h3>\n
The first thing to note is that there are six easily identifiable colour harmonies on an artist\u2019s colour wheel: complementary, analogous, triadic, split-complementary, tetradic and monochromatic. Complementary colours sit opposite each other on the colour wheel (red and green, for example) and when used together, they produce images with maximum contrast and impact.<\/p>\n
Using just two complementary colours in a composition can result in pictures that pop. Analogous colours sit next to each other on the colour wheel (yellow and green, for example) and when used in a composition they tend to harmonise well. (There are plenty of examples of analogous colour schemes in nature \u2013 think agaves with their blue\/green leaves.)<\/p>\n
Triadic schemes comprise three colours that sit equidistant from each other on the colour wheel (yellow, red and blue, for example). These colours produce good contrast while retaining a sense of harmony. A split-complementary scheme uses one base colour (such as green) and the two colours on either side of its complementary colour.<\/p>\n
In this example, the complementary colour would be red, so the two colours either side would be orange and violet. This scheme results in relatively strong contrast, but the visual tension is much lower than that seen in designs that use just two complementary colours.<\/p>\n
Tetradic is used to describe a scheme that features four colours arranged in complementary pairs on the wheel (blue-green, red-orange, violet and yellow, for example). Balancing such contrasting colours can be challenging, but if you allow one colour to dominate it can be an effective strategy. Finally, monochromatic schemes contain tints, shades and tones of the same hue (green in all its guises, for example).<\/p>\n
These schemes can be very soothing to the eye due to the lack of contrast. So, whether you decide to trust your intuition, consult a colour wheel or take inspiration from the pioneers of colour photography, having a basic understanding of colour psychology and theory will greatly boost your creative toolkit.<\/p>\n
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Product and brand photographer: HiyaMarianne<\/h3>\n
www.hiyamarianne.com<\/a>, Instagram @hiyamarianne<\/p>\n\t\t Wallflowers in the Wild (see the whole series at hiyamarianne.com). 1\/100sec at f\/4, ISO 100. Image: hiyamarianne<\/p>\n\t\t<\/div>\n\t\t\n \u2018To me, colour is the most obvious component of putting together a photograph, and I tend to struggle when I get a brief that requires something more neutral. Colour can influence our moods and emotion, too. I think pairing up colours is definitely instinctual, but I\u2019m always finding new combinations that inspire me. I collect colour palettes on the Pantone colour app \u2013 this allows me to point my phone\u2019s camera at any scene and create a palette out of the colours.<\/p>\n On Pinterest, I have dedicated boards for some of my favourite colours and also for colour combinations. When I find a new combination, I start a new board to collect visual samples, and then start playing with the combination in the studio.<\/p>\n \u2018Colour is definitely something that you can train your eye on. Just let go of the notion that you need to be \u201cbrave\u201d to love colours. Finding colours that resonate with you will help you to develop a distinctive style. Even though I love the hot side of the colour wheel with its reds and yellows, I tend to stay in the pastel end of the shade spectrum, which cools things down.<\/p>\n\t\t Pink Breakfast. 1\/100sec at f\/16, ISO 100. Image: hiyamarianne<\/p>\n\t\t<\/div>\n\t\t\n I also tend to stay away from primary colours. I don\u2019t use a physical colour wheel, but I\u2019m aware of where colour combinations sit on it. I decide whether to go for an analogous palette or monochromatic palette or a complementary palette etc, but it\u2019s definitely become intuitive. If you\u2019re just starting out, Adobe Colour has a tool to help you create different types of colour palette (color.adobe.com).\u2019<\/p>\n Marianne\u2019s top tips for using colour<\/strong><\/p>\n Sky & Sun 1\/2500sec at f\/2.8, ISO 100. Image: hiyamarianne<\/p>\n\t\t<\/div>\n\t\t\n www.nigelrglasgow.com<\/a>, Instagram @nigelrglasgow<\/p>\n\t\t Geisha. 1\/100sec at f\/5, ISO 100. Image: Nigel Glasgow<\/p>\n\t\t<\/div>\n\t\t\n \u2018As a tour manager and sound engineer travelling around with bands and musicians, I was hit hard when travel and mass gatherings were postponed due to Covid. I didn\u2019t want to make banana bread, and I\u2019d always had an interest in photography, so I decided to dive in and use my time to learn about cameras, lighting, Lightroom etc.<\/p>\n People say that I\u2019ve learnt quickly, but I still put the hours in. I still watch videos on how to use my camera etc \u2013 sometimes for 12-16 hours a day! There are no excuses, you\u2019ve just got to get on with it. \u2018I\u2019ve always been fascinated with light and I got very into Edward Hopper (his painting Nighthawks fascinates me) and Rembrandt, and I started to learn about colour theory.<\/p>\n I bought myself a colour wheel for \u00a31, which I keep in my bag and still refer to now and again. I learnt how to use the Colour Grading panels in Lightroom and Photoshop and I tried to kind of grade pictures before I took them (as a tour manager I\u2019m used to planning!). I also started using the 3D modelling software Elixxier, which allows you to create lighting set-ups on your computer ahead of a shoot.<\/p>\n\t\t Autumn Leaves. 1\/100sec at f\/6.3, ISO 1000. Image: Nigel Glasgow<\/p>\n\t\t<\/div>\n\t\t\n \u2018I like to gamify things and make them fun \u2013 if it\u2019s not fun, then what\u2019s the point? I do a lot of 30-day challenges, for example, and sometimes I will limit myself to a 2MB memory card so I can shoot as though the camera is loaded with a roll of film. I\u2019ve gone through phases (or fashions) when it comes to colour \u2013 I had a huge orange and green phase and an orange and teal phase too.<\/p>\n If we use the woman in the green beret as an example, for that shoot I started to look out of the window and observe nature, and I fell in love with the colours of autumn. I thought wouldn\u2019t it be great if I put a lady with red hair among the foliage, wearing a green beret to create maximum contrast (see below). I am still learning\/experimenting and always will be.\u2019<\/p>\n Lady in Red. 1\/100sec at f\/2.8, ISO 100. Image: Nigel Glasgow<\/p>\n\t\t<\/div>\n\t\t\n Image: Tracy Calder<\/p>\n\t\t<\/div>\n\t\t\n Warm colours such as red and orange attract the eye, even in very small quantities. The artist Henri Matisse once declared, \u2018a thimble of red is redder than a bucketful\u2019. As a result, these \u2018hot\u2019 colours should be used sparingly in a composition.<\/p>\n Image: Tracy Calder<\/p>\n\t\t<\/div>\n\t\t\n Certain colours have more visual \u2018weight\u2019 than others. Pure yellow, for instance, is perceived as visually light, whereas blue and red are deemed visually heavier. The \u2018weight\u2019 of a colour will affect how dominant or recessive it appears in an image.<\/p>\n Image: Tracy Calder<\/p>\n\t\t<\/div>\n\t\t\n \u2018Hue\u2019 describes a pure colour that has not been mixed with black, white or grey. By using two or three pure hues in a composition \u2013 think brightly-coloured spices at a food market \u2013 you can create images that have serious, and instant, visual impact.<\/p>\n Image: Tracy Calder<\/p>\n\t\t<\/div>\n\t\t\n When you use shades and tones of the same hue, the effect can be soothing on the eye, because of the lack of contrast. Tint is a hue with white added, shade is a hue with black added and tone is a hue with grey added. Sometimes, less is more.<\/p>\n Image: Tracy Calder<\/p>\n\t\t<\/div>\n\t\t\n For maximum contrast and impact, include colours that sit opposite each other on an artist\u2019s colour wheel (complementary colours). Just remember that the strength of this combination may well overpower subtler details in the composition.<\/p>\n Your Guide: Tracy Calder<\/strong><\/em><\/p>\n Tracy has more than 20 years of photo industry experience and co-founded Close-up Photographer of the Year. She has written many photography books and is a regular teacher at West Dean College of Arts & Conservation<\/a>. Instagram @tracy_calder_photo<\/p>\n Get perfect colour in-camera<\/a><\/p>\n How to get perfect colours – white balance explained<\/a><\/p>\n Photo editing masterclass: how to enhance colours<\/a><\/p>\n Make your colours really stand out<\/a><\/p>\n Follow AP on Facebook<\/a>, Twitter<\/a>, Instagram<\/a>, and YouTube<\/a>.<\/strong><\/em><\/p>\n","protected":false},"excerpt":{"rendered":" Colour can influence our emotions and dictate the way we feel about an image. Tracy Calder introduces key points from colour psychology and theory, and shares some practical tips<\/p>\n","protected":false},"author":17,"featured_media":166860,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[371,375,36],"tags":[2375,1702,3155,3154],"product-category":[],"class_list":["post-166851","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-camera_skills","category-expert_advice","category-technique","tag-camera-skills","tag-colour","tag-colour-photography","tag-colour-theory"],"yoast_head":"\n<\/a>\t\t\t<\/a>\t\t\t\n
<\/a>\t\t\t
\nPhotographer and retoucher: Nigel R Glasgow<\/h3>\n
<\/a>\t\t\t<\/a>\t\t\tNigel\u2019s top tips for using colour<\/h3>\n
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<\/a>\t\t\t
\nFive crucial colour tips<\/h3>\n
Use hot colours sparingly<\/strong><\/h3>\n\t\t
<\/a>\t\t\tThink about visual weight<\/strong><\/h3>\n\t\t
<\/a>\t\t\tExperiment with pure hues<\/strong><\/h3>\n\t\t
<\/a>\t\t\tLimit your palette<\/strong><\/h3>\n\t\t
<\/a>\t\t\tAim for maximum impact<\/h3>\n\t\t
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\n\nFurther reading:<\/h3>\n