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MSC 154MSC 154Marine PhotographyMarine Photography
Color PhotographyColor Photography
With Excerpts and examples from:
Color Photography: A Working ManualHenry Horenstein, Little, Brown & Company, USA, 1995
Photography9th. Ed., London, Upton, Stone, Kobré, Brill, Prentice Hall,Upper Saddle River, NJ, 2008
Photographing in ColorPhotographing in Color
More than 99 percent of all photographs More than 99 percent of all photographs taken are in color.taken are in color.
At one time color photography was looked At one time color photography was looked upon with skepticism by many creative and upon with skepticism by many creative and professional photographers.professional photographers.
Presently, black-and-white photographs are Presently, black-and-white photographs are simply thought of as a regular picture with simply thought of as a regular picture with the color turned off.the color turned off.
Photographing in color can sometimes Photographing in color can sometimes produce unexpected results.produce unexpected results. Be aware of slight shifts in color balance Be aware of slight shifts in color balance
resulting from:resulting from:– Color shifts in daylightColor shifts in daylight– Color shifts from different types of light bulbs Color shifts from different types of light bulbs
and or sourcesand or sources Color is a quality based on your:Color is a quality based on your:
– SubjectSubject– The light falling on your subjectThe light falling on your subject– The image you make from itThe image you make from it
Characteristics of a Color PhotographCharacteristics of a Color Photograph
Color BalanceColor Balance – ˡA film’s or a sensor’s – ˡA film’s or a sensor’s response to the colors of a scene. ²The response to the colors of a scene. ²The reproduction of colors in a color print, reproduction of colors in a color print, alterable during image editing or darkroom alterable during image editing or darkroom color printing. color printing. – White Balance – The setting on a digital camera White Balance – The setting on a digital camera
that adjusts the camera for the color temperature that adjusts the camera for the color temperature of a particular light source, such as tungsten or of a particular light source, such as tungsten or daylight. daylight.
Characteristics of a Color PhotographCharacteristics of a Color Photograph
SaturationSaturation – The purity – or vividness, or – The purity – or vividness, or intensity – of a color is referred to as intensity – of a color is referred to as saturation. The color saturation that exists in saturation. The color saturation that exists in front of the camera depends on the physical front of the camera depends on the physical characteristics of objects in the scene and on characteristics of objects in the scene and on the kind of illumination.the kind of illumination.– Saturation in the way colors are reproduced is also Saturation in the way colors are reproduced is also
affected by the specific kind of sensor or film used to affected by the specific kind of sensor or film used to capture the image and the manner of post-processing – capture the image and the manner of post-processing – film development, image editing, and printing.film development, image editing, and printing.
Characteristics of a Color PhotographCharacteristics of a Color Photograph ContrastContrast – The difference in darkness or – The difference in darkness or
density between one tone and another. Two density between one tone and another. Two kinds of contrast are important in a kinds of contrast are important in a photograph; both are strongly affected by the photograph; both are strongly affected by the kind of illumination on the scene, but can also kind of illumination on the scene, but can also be altered by your technique.be altered by your technique.– Overall (or global) contrastOverall (or global) contrast, sometimes called , sometimes called
dynamic range, is the difference between the dynamic range, is the difference between the lightest and darkest parts of a scene, print, lightest and darkest parts of a scene, print, transparency, or negative.transparency, or negative.
Characteristics of a Color PhotographCharacteristics of a Color Photograph
– Local contrast Local contrast is what makes photographs look is what makes photographs look crisp or soft, and has to do with the edges and crisp or soft, and has to do with the edges and transitions of color and tone.transitions of color and tone.
» Affected by the quality of the lens and/or how clean the leans is.Affected by the quality of the lens and/or how clean the leans is.
» Affected by the kind of film (slower films have more contrast) or Affected by the kind of film (slower films have more contrast) or the sensor used.the sensor used.
In very contrasty lighting, no film or digital In very contrasty lighting, no film or digital sensor can record color and details simultaneously sensor can record color and details simultaneously in very light highlights and very dark shadows.in very light highlights and very dark shadows.
It is easier to get good exposures with color if It is easier to get good exposures with color if lighting is soft or flat.lighting is soft or flat.
Light: Part of theLight: Part of theElectromagnetic SpectrumElectromagnetic Spectrum
The human eye – and most digital The human eye – and most digital sensors and/or films – will respond sensors and/or films – will respond to wavelengths from about 400 to wavelengths from about 400 nanometers to 700 nanometers.nanometers to 700 nanometers.
Most sensors and films are Most sensors and films are manufactured to respond to about manufactured to respond to about the same range of wavelengths that the same range of wavelengths that the eye sees. But the eye sees. But they can also they can also respond to other wavelengths the respond to other wavelengths the eye cannot seeeye cannot see, such as ultraviolet , such as ultraviolet and infrared radiation.and infrared radiation.
Color: Color: AdditiveAdditive or Subtractive or Subtractive All colors can be created by mixing three All colors can be created by mixing three
primary colors.primary colors.
– Additive primariesAdditive primaries ( (redred, , greengreen, and , and blueblue)) RGB – used in television sets and computer monitors.RGB – used in television sets and computer monitors. The additive process mixes red, green, & blue light in The additive process mixes red, green, & blue light in
varying proportions to produce any color.varying proportions to produce any color. Mixed together at full strength, all three primaries Mixed together at full strength, all three primaries
produce white light.produce white light. Additive mixing requires three separate light sources.Additive mixing requires three separate light sources.
R
G
B
Color: Additive or Color: Additive or SubtractiveSubtractive All colors can be created by mixing three primary All colors can be created by mixing three primary
colors.colors.
– Subtractive primariesSubtractive primaries ((cyancyan, , magentamagenta, and , and yellowyellow)) CMYK – used in all modern color films, as well as in CMYK – used in all modern color films, as well as in
printing.printing. These colors absorb red, green, and blue wavelengths, thus These colors absorb red, green, and blue wavelengths, thus
subtracting them from white light.subtracting them from white light. The subtractive primaries are the complementary colors to The subtractive primaries are the complementary colors to
the three additive primaries.the three additive primaries. Mixed all together at full strength, the subtractive primaries Mixed all together at full strength, the subtractive primaries
absorb all colors of light, producing black (“K”).absorb all colors of light, producing black (“K”). Mixed in varying proportions, they can produce any color Mixed in varying proportions, they can produce any color
in the spectrum.in the spectrum.
R
G
B
Color Photographs: Color Photographs: Three Image LayersThree Image Layers A color photograph begins as three superimposed A color photograph begins as three superimposed
black-and-white negatives.black-and-white negatives. Color film consists of three layers of emulsion, with each layer Color film consists of three layers of emulsion, with each layer
basically the same as in B & W film, but responding to different basically the same as in B & W film, but responding to different parts of the spectrum.parts of the spectrum.
– The top layer is only sensitive to blue light.The top layer is only sensitive to blue light.– The middle layer records the green light.The middle layer records the green light.– The bottom layer is exposed only by red light.The bottom layer is exposed only by red light.
Colors are created during development.Colors are created during development.– The developer converts the light-sensitive silver halides in The developer converts the light-sensitive silver halides in
the layers to metallic silver.the layers to metallic silver.– As it does so, the developer oxidizes and combines with dye As it does so, the developer oxidizes and combines with dye
couplers that are either built into the layers of emulsion or couplers that are either built into the layers of emulsion or added during developmentadded during development
A color transparency, for example, has three layers of dye images A color transparency, for example, has three layers of dye images superimposed on a transparent support.superimposed on a transparent support.
Choosing A Color FilmChoosing A Color Film Different types and/or brands of color film vary Different types and/or brands of color film vary
in their color rendition, sharpness, contrast, in their color rendition, sharpness, contrast, graininess, and other characteristics.graininess, and other characteristics.
– Negative filmsNegative films, also called “print films”., also called “print films”.» Produce an image that is opposite in colors and density of Produce an image that is opposite in colors and density of
the original scene.the original scene. Designed to be printed to create a positive image, usually on Designed to be printed to create a positive image, usually on
paper but occasionally on a clear film base for overheads, etc.paper but occasionally on a clear film base for overheads, etc. Color negatives contain an overall orange “mask” which is Color negatives contain an overall orange “mask” which is
formed during processing to help control color balance and formed during processing to help control color balance and contrast in printing.contrast in printing.
» Usually identified by the suffix – Usually identified by the suffix – colorcolor attached to the attached to the manufacturer’s name.manufacturer’s name.
AgfaAgfacolorcolor, Ekta, Ektacolorcolor, Fuji, Fujicolorcolor, Koda, Kodacolorcolor, etc., etc.
Choosing A Color FilmChoosing A Color Film
– Reversal filmsReversal films, also called “transparency film”., also called “transparency film”.» The film exposed in the camera is processed so that the The film exposed in the camera is processed so that the
negative image is reversed to make a positive transparency negative image is reversed to make a positive transparency with the same colors and density as the scene.with the same colors and density as the scene.
Designed to be projected or viewed directly and can also be printed Designed to be projected or viewed directly and can also be printed or scanned.or scanned.
35mm transparency films also are called “slide films”. 35mm transparency films also are called “slide films”.
– A slide is a transparency framed in cardboard or plastic mount.A slide is a transparency framed in cardboard or plastic mount.
» Generally identified by the suffix – Generally identified by the suffix – chromechrome attached to the attached to the manufacturer’s name.manufacturer’s name.
AgfaAgfachromechrome, Ekta, Ektachromechrome, Fuji, Fujichromechrome, Koda, Kodachromechrome, etc., etc.
Choosing A Color FilmChoosing A Color Film
Professional filmsProfessional films are designed for professional are designed for professional photographers, who often have exacting standards, especially for photographers, who often have exacting standards, especially for color balance.color balance.– Professional films are shipped to the camera store when they are at their Professional films are shipped to the camera store when they are at their
peak in terms of:peak in terms of:» Color balanceColor balance
» SpeedSpeed
» ContrastContrast
– Professional films have a shorter expiration date and should be used Professional films have a shorter expiration date and should be used immediately and/or kept refrigerated.immediately and/or kept refrigerated.
– Other characteristics of professional films may include:Other characteristics of professional films may include:» A heavier film base and a more durable emulsion.A heavier film base and a more durable emulsion.
» More flexibility in push and pull processing.More flexibility in push and pull processing.
– Generally more expensive than comparable amateur films.Generally more expensive than comparable amateur films.
Choosing A Color FilmChoosing A Color Film
Consumer oriented filmsConsumer oriented films are typically designed and are typically designed and manufactured to different color specifications.manufactured to different color specifications.– Amateur films are shipped before they reach their peak so they will Amateur films are shipped before they reach their peak so they will
reach their optimum color balance some time after they reach the reach their optimum color balance some time after they reach the retailer.retailer.
– Amateur films have a longer expiration date and can be stored at Amateur films have a longer expiration date and can be stored at room-temperature.*room-temperature.*
– An amateur version of a certain film may have more highly An amateur version of a certain film may have more highly saturated color and higher contrast for added impact.saturated color and higher contrast for added impact.
» The professional version of the same film may have less intense The professional version of the same film may have less intense color & lower contrast for more accurate skin tones & greater color & lower contrast for more accurate skin tones & greater subject detail.subject detail.
– Nonprofessionals are more likely to accept some variation in color Nonprofessionals are more likely to accept some variation in color balance from one roll of film to the next.balance from one roll of film to the next.
* Although they are not expected to be refrigerated, they too keep better when kept cool.
Film CharacteristicsFilm Characteristics Different types of color film vary in their color rendition, Different types of color film vary in their color rendition,
sharpness, contrast, graininess, and other characteristics.sharpness, contrast, graininess, and other characteristics.– Color quality varies widely from film to film.Color quality varies widely from film to film.
» Some films have a warm bias – others don’t.Some films have a warm bias – others don’t.
» Some films produce more saturated (intense) colors than others.Some films produce more saturated (intense) colors than others.
» Dyes used by different manufacturers vary.Dyes used by different manufacturers vary.
– Film speed (ISO)has an important effect on how film renders a Film speed (ISO)has an important effect on how film renders a subject.subject.
» Slower films (lower ISO) generally produce:Slower films (lower ISO) generally produce: Greater sharpness.Greater sharpness. Richer ColorsRicher Colors Generally more contrast.Generally more contrast. A less grainy appearance (less digital noise).A less grainy appearance (less digital noise). Higher resolution.Higher resolution.
» Practical considerations always come into play.Practical considerations always come into play.
Exposing Color FilmsExposing Color Films Correct film exposure is the primary factor in determining Correct film exposure is the primary factor in determining
whether or not you will get good negatives and whether or not you will get good negatives and transparencies.transparencies.– For the most part, techniques for exposing B & W films also apply For the most part, techniques for exposing B & W films also apply
to exposing color films.to exposing color films.
– It’s easier to get good exposures (prints) with negative films than It’s easier to get good exposures (prints) with negative films than with transparency films.with transparency films.
» Negative films have more exposure latitude (margin for error).Negative films have more exposure latitude (margin for error).
» Transparency films tolerate very little under or overexposure (1/2 to Transparency films tolerate very little under or overexposure (1/2 to 2/3 stop).2/3 stop).
» Unlike negatives, transparencies become lighter with more exposure Unlike negatives, transparencies become lighter with more exposure and darker with less.and darker with less.
– There’s more margin for error (latitude) when the lighting is soft There’s more margin for error (latitude) when the lighting is soft (low contrast) than when it’s hard (high contrast). (low contrast) than when it’s hard (high contrast).
Exposure Latitude: Exposure Latitude: How Much Can Exposures Vary?How Much Can Exposures Vary?
Color Negatives – Uncorrected Contact SheetTransparencies
Corrected Print Corrected Print
-1 stop-2 stops-3 stops-4 stops
-1 stop-2 stops-3 stops-4 stops
+1 stop +2 stops +3 stops +4 stops
+1 stop +2 stops +3 stops +4 stops
Color films and lighting must be balanced Color films and lighting must be balanced for neutral color.for neutral color. Color film records slight shifts in color balance Color film records slight shifts in color balance
that result from different types of light bulbs or that result from different types of light bulbs or color shifts in daylight.color shifts in daylight.
Unlike black & white films, color films allow Unlike black & white films, color films allow relatively little contrast control.relatively little contrast control.
Subject lighting is a critical factor in determining Subject lighting is a critical factor in determining color balance and contrast.color balance and contrast.
The balance of colors in light is measured as color The balance of colors in light is measured as color temperature on the Kelvin scale.temperature on the Kelvin scale.
Different color films are made for different color Different color films are made for different color temperatures.temperatures.
Color Balance: Color Balance: Color TemperatureColor Temperature
10,000K
9,000K
8,000K
7,000K
6,000K
5,000K
4,000K
3,000K
2,000K
1,000K
Cool Colors or “Hues”
Warm Colors or “Hues”
5500K } Daylight Film5200K } Digital Camera – White Balance for Daylight
3200K } Tungsten Film
Daylight: Clear Skylight/No Direct Sun+
Daylight: Dull, Foggy Weather
Daylight: Overcast Sky
Electronic Flash
Daylight: Noon, Direct Sun
Industrial Smog
75 Watt Household Bulb
Candlelight
3400K
3200K
Photoflood Bulb
Photoflood Bulb
Color Balance and the Light SourceColor Balance and the Light Source
Daylight Color Film, White Background, Gray Shirt
Midday Sunlight
Sunset Open Shade Outdoors
TelevisionMonitor
ComputerMonitor
Blue Neon
FluorescentTube
TungstenBulb
Candlelight
Filters for Black & White FilmFilters for Black & White Film With black-and-white films, colored filters are With black-and-white films, colored filters are
used to control the relative lightness and used to control the relative lightness and darkness of tones (contrast).darkness of tones (contrast).
Actual SceneIn Color
B & WNo Filter
B & W#8 YellowFilter
B & W#25 RedFilter
Filters for B & W and Color FilmsFilters for B & W and Color Films Skylight or UltravioletSkylight or Ultraviolet Neutral DensityNeutral Density PolarizingPolarizing
– Darkens Blue SkyDarkens Blue Sky
– Reduces ReflectionsReduces ReflectionsWithout Polarizing Filter With Polarizing Filter
Filters to Balance ColorFilters to Balance Color Filters can correct the color balance.Filters can correct the color balance.
– Daylight film – Tungsten light.Daylight film – Tungsten light.
– Tungsten film – DaylightTungsten film – Daylight
– Daylight film – Fluorescent lightDaylight film – Fluorescent light
Very long exposures can change color balance.Very long exposures can change color balance. Color balance is more important when making color Color balance is more important when making color
slides than it is with color negatives.slides than it is with color negatives.
Filters to Balance ColorFilters to Balance Color
Filter 85B
Filter 80A
Filter FL
Daylight Film inFluorescent Light
Daylight Film inFluorescent Light
With FL Filter
Daylight Film in Natural Daylight
Tungsten Film in Tungsten Light
Tungsten Film in Daylight
Daylight Film in Tungsten Light
Tungsten Film in Natural Daylightwith 85B Filter
Daylight Film in Tungsten Lightwith 80A Filter
Natural light won’t always provide the Natural light won’t always provide the color and contrast you want.color and contrast you want. Varies enormously depending on factors Varies enormously depending on factors
such as:such as:» Weather (and other atmospheric conditions)Weather (and other atmospheric conditions)
» Time of day
» LocationLocation
» Season
Time of day affects color:Time of day affects color: Specifics may vary Specifics may vary with other factors, but typically changes as shown.with other factors, but typically changes as shown.
6:30 A.M. 7:00 A.M. Noon
3:45 P.M. 6:00 P.M. 8:30 P.M.
Light is very cool before dawn. Light warms as the sun rises. Light becomes neutral laterin the morning …
And stays neutral through theearly afternoon.
As the sun goes down, the resultinglight warms up again …
Then cools down after sunset.
Season affects color: Season affects color: From season to season color From season to season color may change may change (leaves in the fall or snow in the winter),(leaves in the fall or snow in the winter), as does the as does the color temperature of outdoor light.color temperature of outdoor light.
Winter Spring
Summer Fall
You can only achieve maximum control You can only achieve maximum control over color and contrast by lighting the over color and contrast by lighting the subject exactly the way you want – in a subject exactly the way you want – in a
studio or totally dark room.studio or totally dark room.
Obviously this is not always practical Obviously this is not always practical or possible for photographers or or possible for photographers or
marine technicians – marine technicians –
Be Aware of the Problems!Be Aware of the Problems!
Use your references:Use your references: PhotographyPhotography
9th. Ed., London, Stone, Upton 9th. Ed., London, Stone, Upton Prentice Hall,Prentice Hall,
Upper Saddle River, NJ, 2005Upper Saddle River, NJ, 2005
– Chapter 7 / ColorChapter 7 / Color» Pages 138 – 149Pages 138 – 149
» http://www.prenhall.com/london