Module 3A - Color Theory

The Color Wheel

A color wheel is a visual representation of primary, secondary, and tertiary colors within a color space.
Photographers primarily use the RGB color wheel, which represents the three additive colors of white light: Red, Green, and Blue.

Primary Colors: Red, Green, and Blue.
- Red: (R=255, G=0, B=0)
- Green: (R=0, G=255, B=0)
- Blue: (R=0, G=0, B=255)
Secondary Colors: Cyan, Magenta, and Yellow. Created by blending equal amounts of neighboring primary colors.
Tertiary Colors: Created by mixing a primary color with either one or two secondary colors.

Additive light explains how colors mix when using light.
Example: Theatrical lighting demonstrates additive light.
- A stage lit with a red spotlight appears red.
- Adding a green spotlight results in yellow where the red and green lights overlap.
- Adding all three (red, green, blue) spotlights creates white light.
The eye perceives elements illuminated by all three colors as having natural color, similar to daylight (5500°).
Overlapping two lights produces the secondary colors from the color wheel.

RGB colors are relevant in photography because photographers work with light and color in a reflective environment.
White balance adjustments are made during image capture.
RGB is also used when calibrating monitors, which are made of pixels emitting RGB values.
Printing: Photographic printing involves mixing pigments or dyes rather than light.
The secondary colors of the RGB color wheel (cyan, magenta, yellow) are the subtractive colors used to create primary colors in printing.
Subtractive Color Mixing:
- A cyan filter absorbs a portion of white light, appearing cyan.
- Overlapping a yellow filter with a cyan filter absorbs more wavelengths, resulting in green.
- Combining magenta and cyan makes blue.
- Combining cyan, magenta, and yellow creates black.
When adjusting colors for printing, focus on subtractive color: to reduce blue, add yellow (since yellow absorbs blue).

Color aspects include saturation and color temperature.
Color is crucial for representing the subject effectively and achieving the desired effect.
Color influences mood and emotions.

Warm Colors: Red through yellow, browns, and tans. These colors are active as they increase attention and stimulate senses.
Cool Colors: Blue-green through blue-violet, as well as grays. These colors are passive, producing a calming effect.
Warm colors appear to advance, while cool colors recede.

Dark Colors: Hues mixed heavily with black (blacks, browns, dark blue, dark green). They provide a comforting effect and are considered low key.
Light Colors: Colors with little to no color values, such as white. They create more stimulus and are called high key.
Photographers use color to emphasize emotions and provide visual cues to the setting's mood.
Color choices also carry symbolism.
Red represents hot, while blue often represents cold.

Hues: The twelve colors on the color wheel.
- Primary: red, green, blue
- Secondary: cyan, magenta, yellow
- Tertiary: orange, chartreuse, spring green, azure, violet, rose
Tints: Created by adding white to a hue.
Shades: Created by adding black to a hue.
Tones: Created by adding both black and white to a hue.

Harmony is a pleasing blend of values that creates an enjoyable environment.
Color harmony involves a pleasing arrangement of colors throughout an image.
This includes a blend of colors in the foreground, middle ground, background, subject matter, clothing, and props.
Photographers plan background and accent colors based on the subject and clothing, or vice versa.
Good communication and planning are essential for achieving color harmony.

The degree to which we see and record color differs significantly.
Our brains correct color to some extent.
Photographers must recognize the impact of reflected light on recorded color and know how to correct it.
It is important to selectively include and exclude colors in an image.

Contrast illustrates the differences between two or more elements.
Pairings: good and evil (ideals), hard and soft (physical), black and white (visual).
Photographers use contrasts to tell a visual story.
Physical contrasts can emphasize the subject.
Contrasting textures is effective such as photographing a model against a rough exterior to contrast skin texture.
Visual contrasts involve color and tonal values.

Color saturation is the relative brightness of a color.
Subdued backgrounds are suitable for subjects wearing highly saturated fabrics.
Highly saturated backgrounds can overwhelm a subject.
Color saturation is relative to the amount of light reflecting from a color and the overall exposure.
Photographers may subdue a background by blocking light or increasing subject illumination.
Light can be added to enhance color saturation.

Patterns can either enhance or distract from a photograph.
Patterns can create visual interest and movement, offering opportunities to position a subject effectively.
Contrasting a subject with strong patterns can be a great technique.
Patterns (especially on clothing) can distract from the subject's face.
Educating clients on wardrobe choices is beneficial to avoid distracting patterns.