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Scheme No. 1. Complementary combination
Complementary, or additional, contrasting, are colors that are located on opposite sides of the Itten color wheel. Their combination looks very lively and energetic, especially with maximum color saturation.
Scheme number 2. Triad - a combination of 3 colors
The combination of 3 colors lying at the same distance from each other. Provides high contrast while maintaining harmony. Such a composition looks quite lively even when using pale and desaturated colors.
Scheme No. 3. A similar combination
A combination of 2 to 5 colors located next to each other on the color wheel (ideally 2-3 colors). Impression: calm, relaxing. An example of a combination of similar muted colors: yellow-orange, yellow, yellow-green, green, blue-green.
Scheme No. 4. Separate-complementary combination
A variant of a complementary combination of colors, only instead of the opposite color, the colors adjacent to it are used. The combination of the main color and two additional. This scheme looks almost as contrasting, but not so tense. If you are not sure that you can use complementary combinations correctly, use separate-complementary ones.
Scheme number 5. Tetrad - a combination of 4 colors
A color scheme where one color is the main one, two are complementary, and another highlights the accents. Example: blue-green, blue-violet, red-orange, yellow-orange.
Scheme number 6. Square
Combinations of individual colors
- White: goes with everything. The best combination with blue, red and black.
- Beige: with blue, brown, emerald, black, red, white.
- Gray: with fuchsia, red, purple, pink, blue.
- Pink: with brown, white, mint green, olive, gray, turquoise, baby blue.
- Fuchsia (dark pink): with gray, tan, lime, mint green, brown.
- Red: with yellow, white, brown, green, blue and black.
- Tomato red: blue, mint green, sandy, creamy white, gray.
- Cherry red: azure, gray, light orange, sandy, pale yellow, beige.
- Raspberry red: white, black, damask rose.
- Brown: bright blue, cream, pink, fawn, green, beige.
- Light brown: pale yellow, creamy white, blue, green, purple, red.
- Dark brown: lemon yellow, sky blue, mint green, purplish pink, lime.
- Reddish brown: pink, dark brown, blue, green, purple.
- Orange: blue, blue, purple, purple, white, black.
- Light orange: gray, brown, olive.
- Dark orange: pale yellow, olive, brown, cherry.
- Yellow: blue, mauve, light blue, purple, grey, black.
- Lemon yellow: cherry red, brown, blue, grey.
- Pale yellow: fuchsia, gray, brown, shades of red, tan, blue, purple.
- Golden yellow: gray, brown, azure, red, black.
- Olive: orange, light brown, brown.
- Green: golden brown, orange, lettuce, yellow, brown, grey, cream, black, creamy white.
- Salad color: brown, tan, fawn, gray, dark blue, red, gray.
- Turquoise: fuchsia, cherry red, yellow, brown, cream, dark purple.
- Electrician is beautiful in combination with golden yellow, brown, light brown, gray or silver.
- Blue: red, grey, brown, orange, pink, white, yellow.
- Dark blue: light purple, sky blue, yellowish green, brown, gray, pale yellow, orange, green, red, white.
- Lilac: orange, pink, dark purple, olive, grey, yellow, white.
- Dark purple: golden brown, pale yellow, gray, turquoise, mint green, light orange.
- Black is versatile, elegant, looks in all combinations, best with orange, pink, salad, white, red, lilac or yellow.
Light and color play a huge role in the art of photography. In photographs, the photographer relies on objectively given forms of objects and gives them through the use of a series means of expression certain semantic meaning. Among the main such means is the play with light and color. They carry the idea of the creative intent of the photographer. With the help of light, you can model volumes, emphasize their plasticity, density or weight, if the idea of a photograph requires it. The color makes the photo image outwardly more reliable and close to the real shapes of objects.
Before turning to color in photography, it is worth turning to its history and remembering when and how color became part of the photographic creative process.
A significant milestone in the creation of color photography was the theory of visual perception and reproduction of colors, created by Thomas Young in 1807. He proved that any color can be reproduced by mixing 7 spectral colors, but for a simplified reproduction, three basic colors are enough: blue, green and red. It is noteworthy that this fact has long been known to artists, but writing scientific works on this subject, they somehow did not bother. The invention of color photography was first announced back in 1850. Here is a photo taken by Levi Hill. He called this process heliochromia.
In 1851, the English photographer Williams, the father of stereo photography, presented painted daguerreotypes to the public, but this was not at all the same. Generally a very long time color photography went on the path of coloring. Many photographers were artists or hired artists to create color images. This method lasted until the beginning of the 20th century.
Color photography appeared in the middle of the 19th century. The first stable color photograph was taken in 1861 by James Maxwell using the three-color photography method (color separation method). To obtain a color image using this method, three cameras with color filters (red, green and blue) installed on them were used. The resulting images made it possible to recreate a color image during projection (and later, in printing). In the strict sense of the word, Maxwell's demonstration, based on the additive method of color synthesis and representing three carefully blended overhead projections, was not a single photographic image.
The first reliable color photographs fixed on a material carrier were obtained by French inventors Louis Arthur Ducos du Auron and Charles Cros in the late 1860s.
Louis Arthur Ducod du Auron - November 23, 1868 patented "trichromia" - a full-cycle color photographic process that included shooting negatives through green, orange and violet light filters, positive printing on thin gelatin plates sensitized with a solution of potassium chromium peak with the addition of carbon dyes of additive colors ( red, blue, yellow), and the overlay of three plates to obtain a full color image. In 1869 he published the treatise "Colors in photography: a solution to a problem" (French Les Couleurs en Photographie, solution du problème). In 1877, he received one of the most famous photographs in the history of photography - a color panorama of Agen, made using the subtractive method of color synthesis.
Next major step in the development of the method of three-color photography was the discovery in 1873 by the German photochemist Hermann Wilhelm Vogel of sensitizers, that is, substances that can increase the sensitivity of silver compounds to rays of different wavelengths - to rays of different colors. Vogel managed to obtain a composition that is sensitive to the green part of the spectrum. Practical use Three-color photography became possible after a student of Vogel, the German scientist Adolf Miethe, developed sensitizers that make the photographic plate sensitive to other parts of the spectrum. He also designed a camera for taking pictures in three colors and a three-beam projector for displaying the resulting color pictures. This equipment in action was first demonstrated by Adolf Miethe in Berlin in 1902.
A great contribution to the further improvement of the method of three-color photography was made by Adolf Mite's student Sergei Prokudin-Gorsky, who developed technologies that make it possible to reduce exposure and increase the possibility of replicating an image. Prokudin-Gorsky also discovered in 1905 his own recipe for a sensitizer that created maximum sensitivity to the red-orange part of the spectrum, surpassing A. Mite in this respect.
At the beginning of the 20th century, multilayer color photographic materials did not yet exist, so Prokudin-Gorsky used black-and-white photographic plates (which he sensitized according to his own recipes) and a camera of his own design (its exact device is unknown; it probably looked like a camera system of the German chemist A. Mitya). Through color filters of blue, green and red, three quick shots of the same scene were taken in succession, after which three black-and-white negatives were obtained, one above the other on one photographic plate. From this triple negative, a triple positive was made (probably by contact printing). To view such photographs, a projector with three lenses located in front of three frames on a photographic plate was used. Each frame was projected through a filter of the same color as the one through which it was shot. When three images (red, green and blue) were added together, a full-color image was obtained on the screen.
The composition of the new sensitizer patented by Prokudin-Gorsky made the silver bromide plate equally sensitive to the entire color spectrum. Peterburgskaya Gazeta reported in December 1906 that, by improving the sensitivity of his plates, the researcher intended to demonstrate "snapshots in natural colors, which is a great success, since no one has received it yet." Perhaps the projections of Prokudin-Gorsky's photograph were the world's first slide demonstrations.
Prokudin-Gorsky contributed to two areas of improvement in color photography that existed at that time: reducing shutter speed (according to his method, Prokudin-Gorsky managed to make exposure in a second possible) and, secondly, increasing the possibility of replicating the image. He presented his ideas at international congresses on applied chemistry.
The pictures were taken not on three different plates, but on one, in a vertical position, which made it possible to speed up the shooting process by only shifting the plate.
Together with Sergei Maksimovich, Prokudin-Gorsky worked on the design of a movie camera for color filming according to his method and filmed in Turkestan in 1911. For the development of color cinema and color printing, with his participation in 1914, several large industrialists established joint-stock company"Biochrome", which was transferred the property rights to the Prokudin-Gorsky collection. On the eve of the First World War, Prokudin continued his research and achieved new successes. He patented in Germany, England, France and Italy a method for making cheap color film transparencies for cinematography. In 1922, he received an English patent for an optical system for producing three filter negatives in one exposure.
There was also a method by which the image from photographic plates could be obtained on paper. Until 1917, more than a hundred color photographs of Prokudin-Gorsky were printed in Russia, of which 94 were in the form of photo postcards, and a significant number in books and brochures.
Along with the color separation method, other processes (methods) of color photography began to develop actively since the beginning of the 20th century. In particular, in 1907, the Lumiere Brothers' "Autochrome" photographic plates were patented and put on the free market, making it relatively easy to obtain color photographs. Despite numerous shortcomings (rapid fading of colors, brittleness of the plates, graininess of the image), the method quickly gained popularity and until 1935 50 million autochrome plates were produced in the world.
Alternatives to this technology did not appear until the 1930s: Agfacolor in 1932, Kodachrome in 1935, Polaroid in 1963. In 1932, the German firm Agfa produced Agfacolor-Neu color reversal film. The attention of photo and film enthusiasts was offered a film made according to a completely new technology, quite progressive - with a three-layer emulsion, and the dyes were dissolved directly in the emulsion layers. One exposure, one frame, double development - and the transparencies are ready! I do not know how much this film cost, but I suspect that it is quite expensive. However, wealthy citizens of the Third Reich got the opportunity to spend their Reichsmarks sensibly: shoot the film, give it to the laboratory and, after a few days or even hours, look at color transparencies - through the light through a diascope or with the help of a slide projector, which in those days was no longer called a "magic lantern ", but in a military manner: Bildwerfer. Moreover, it was possible to make your own color film - after all, the film was sold not only in 35 mm format, but also in 8 and 16 mm rolls!
In the United States, ANSCO, the American subsidiary of Agfa, launched Ansco Color film, which differed from Agfacolor only in name. The main customer of the film was the MGM studio, which supplied the filming materials under the Metrocolor brand. The last American feature film shot on this film was Lust for Life (1956) by Vincent Minnelli.
A few years later, the Kodacolor method was introduced in the United States, which made it possible to obtain rich and colorful prints. Based on the negative process, the Kodacolor method ushered in the era of instant color photography. Color printing has become extremely popular, but instant color photography has also developed rapidly. Back in the late 40s, Polaroid Corporation sold the first kit for making black and white photography in 60 seconds, and by 1963 the modernization needed to produce within a minute of color photographs was completed. The owner of a Polaroid camera with Polyacolor film needs only to click the shutter, pull the tab and watch in amazement how the people or objects photographed by him appear in full color on a piece of white paper in one minute.
Light and color play a huge role in the art of photography. With the help of light, you can model volumes, emphasize their plasticity, density or weight, if the idea of a photograph requires it. The color makes the photo image outwardly more reliable and close to the real shapes of objects. Color has a number of physical characteristics that ultimately affect its perception in photography.
Primary colors in photography - red, green, blue (RGB) - an additive color model, as a rule, describing the way color is synthesized for color reproduction. The choice of primary colors is due to the physiology of color perception by the retina of the human eye. It is called additive because the colors are obtained by adding (English addition) to black. When you add all three, you get white light. Complementary colors are placed on the light circle opposite each other - cyan and red, magenta and green, yellow and blue. If you mix the main color with an additional one that lies diametrically against it, you can get gray.
Achromatic colors - shades of gray (in the range of white - black) are paradoxically called achromatic (from Greek α - negative particle + χρώμα - color, that is, colorless) colors. The brightest achromatic color is white, the darkest is black. You may notice that with the maximum decrease in saturation, the tone (relation to a certain color of the spectrum) of the hue becomes indistinguishable.
Color characteristics
Each color has quantifiable physical characteristics (spectral composition, brightness):
Brightness - equally saturated shades, related to the same color of the spectrum, may differ from each other in the degree of brightness. For example, as the brightness decreases, the blue color gradually approaches black. It should be noted that the brightness, as well as other color characteristics of a real colored object, significantly depend on subjective reasons due to the psychology of perception. So, for example, blue color in the neighborhood with yellow seems brighter.
Saturation - two shades of the same tone may differ in the degree of fading. For example, as the saturation decreases, the blue color approaches gray.
Lightness - the degree of closeness of a color to white is called lightness. Any shade at the maximum increase in lightness becomes white.
Color tone - a set of color shades similar to the same color of the spectrum. Any chromatic color can be assigned to any specific spectral color. Hues similar to the same spectrum color (but differing, for example, in saturation and brightness) belong to the same tone. When the tone of, for example, blue changes to the green side of the spectrum, it changes to blue, and to the opposite side - violet.
Color temperature is a characteristic of the course of the radiation intensity of a light source as a function of wavelength in the optical range. A person in any light sees an object (obviously) white as white, because the necessary color correction is automatically carried out by the human eye and brain.
If the light source has a continuous spectrum of a thermal nature, then this spectrum can be associated with a certain temperature to which an absolutely black body must be heated in order for its radiation to have the same spectral composition. This temperature is called the color temperature. Color temperature is measured in Kelvin.
The color temperature of the light source: characterizes the spectral composition of the radiation of the light source, is the basis for the objectivity of the impression of the color of reflecting objects and light sources.
White balance (also called white balance for short) is one of the parameters of the color image transmission method that determines the correspondence of the color gamut of the image of the object to the color gamut of the subject. The most difficult situation for “white balance” is the presence of two or more different sources with different color temperatures. In this case, the human eye and brain will still “see” the correct colors of objects, however, film, television camera, and digital camera will reproduce some of the objects as "colored". For example, if we set the white balance in a digital camera to "daylight", then the part of the frame illuminated by incandescent lamps will look yellow, fluorescent lamps - green, pink or purple (for different types lamps), on a stage lit by a cloudless sky, the shadows will be blue. Although this property is often digital cameras can be used to make an image more attractive, as in the following examples.
Sometimes a change in color tone is correlated with the "warmth" of the color. So, red, orange and yellow shades, as corresponding to fire and causing the corresponding psychophysiological reactions, are called warm tones, blue, blue and violet, like the color of water and ice, are called cold. It should be noted that the perception of the "warmth" of color depends both on subjective mental and physiological factors (individual preferences, the state of the observer, adaptation, etc.), and on objective ones (the presence of a color background, etc.).
The process of photographing requires the photographer to have certain knowledge of the nature of light. Sunlight, continuously changing depending on the height of the sun above the horizon and the weather, is divided into directional (direct) and scattered by the atmosphere. The secondary source of natural light is the sky. Both light reflect the surfaces of the subjects being photographed.
In the early morning and late afternoon, natural light contains significantly more red and orange rays than in the middle of the day.
As the sun rises, not only does the light intensity gradually increase, but its color temperature also changes. There is a change in the spectrum, blue, blue and white rays begin to predominate in it.
Depending on the height of the sun, natural lighting is divided into periods of spectacular (low) morning and evening, normal, zenith and twilight lighting. With effective lighting, the horizontal rays of the sun form long elongated shadows from objects, well reveal the terrain, volumes of objects and plans.
A great semantic, emotional and aesthetic load in the art of photography is the color content. The correct arrangement of color accents helps to create a compositional solution. Colors, being in harmonious unity with each other, must also be consistent with other components of the composition - light, movement and space. The color composition can be built in two ways: by the principle of subordination or by the principle of coordination. In the first case, some color spot is assumed to be the main or dominant one, and all other colors correlate with it, harmonizing or contrasting.
On the contrary, coordination is realized in images containing many gradations of the same color, which are interconnected and coordinated with each other.
The use of color in composition.
Contrast - Using contrasting colors in photography is a powerful creative tool that creates images that draw attention to themselves. The strongest color contrasts are obtained if the primary color is combined with an opposing complementary color of the same strength. Good example- yellow with blue. They give a sharp contrast, combined in one shot. The effect is weakened when one color takes up more space in the photo than another, or when one of these colors is stronger than the other. Another factor to take into account is how certain colors work on their own. Warm colors - such as red and yellow - "protruding", while cold - blue, green - "retreating", remind us of the vastness: sea, sky, countryside. So, if you combine a warm color with a cold one, then the warm color will certainly dominate in the picture, even in small quantities the cold color forms an attractive background. Contrast forces comparison of objects in the frame
One-dimensional contrast is distinguished - when there is a difference in one category (for example, in color) and multidimensional contrast - when there is a contrast in several categories (in color, shape, contrast ...)
Nuance. A nuance is the interaction in the composition of several objects similar in some way. These are minor differences between the elements in the composition in the same categories. Also distinguish one-dimensional and multidimensional nuance. In nuanced forms, there is more similarity, and the difference is only a little bit.
Identity - similar in meaning to the rhythm in the composition and often complements it. This is a repetition of identical elements, similar in their qualities (size, shape, tone ...). Requirements for an identical composition: 1) the element must be simple, expressive, beautiful. 2) the relation of the identical element to space must be observed.
Symmetry is an identical arrangement of elements relative to a point, axis or plane of symmetry, perceived by the eye as special kind orderliness of balance and harmony. Types of symmetry: mirror, axial, mirror-axial, screw. Mirror. This is a symmetry in which the elements of the composition are located at the same distance from the plane of symmetry and, when superimposed on each other, their figures coincide at all points, i.e. one figure mirrors the other. Axial symmetry. This is symmetry about the axis, the line of intersection of two or more planes of symmetry. (In axial symmetry, the element itself must have an asymmetric structure!) Mirror-axial or mixed. There are two types of such symmetry: 1) when both mirror and axial symmetry are combined in one work. 2) when axial symmetry is taken with a symmetrical structure of elements. Screw symmetry. The element performs both rotational and translational motion around the axis.
Asymmetry is a variant of the composition, in which the combination and arrangement of elements, axes, symmetry planes is not observed. This is the absence, or violation of symmetry (dissymmetry).
Colors also have the power to evoke different reactions in the viewer, because we associate our moods and emotions with different colors. Red is associated with blood, revolution, love, hate and is sometimes used as a warning. But orange and yellow are soothing colors that remind us of warmth and sunshine. As for cold colors, blue is associated with the free expanse of heaven and sea, as well as with cold and loneliness. Finally, green - the natural color of nature - reminds of dense forests, the birth of a new one, beauty. Of course, in order to evoke these feelings, it is not enough just to include this or that color in the frame, but one should remember about their power affecting the subconscious when shooting this or that plot. So, for example, a fiery sunset shot with an orange filter will radiate warmth, while a photo of a cold, hazy day with a blue tint can send shivers down your skin.
Colors are sometimes referred to as heavy or light. Heavy colors include dark colors: black, blue, purple and all tones darkened with black paint. To light - white, red, yellow and all colors whitened with white paint.
Color has many objective and subjective properties, and it is the photographer's job to use knowledge of these properties to produce truly interesting photographic images.
Remember the photographs that, thanks to their color palette, really impressed you, riveted your eyes to themselves. Moreover, the presence of bright shades is not at all necessary, these photographs stand out among others due to the ratio of colors that the photographer builds directly.
In order to use and benefit from all the countless shades of colors, we must have a good understanding of color theory. In this article, we have briefly outlined for you the basic postulates of color theory.
Let's start with the basics. Color circle
Most likely, you have heard more than once about the existence of the color wheel, perhaps you studied its structure in childhood in drawing lessons. We invite you to brush up on your knowledge.
We need a color wheel to understand how colors interact with each other, how they are combined. That is what it was created for.
Within the color wheel, there are primary, secondary, and tertiary colors that together form the color spectrum. Thanks to this separation, it is much easier to consider the relationship between colors. All original colors are the brightest in the spectrum, adding white to them, we get lighter, pastel shades, adding black, we get colors in dark colors, respectively.
Now we will look at primary, secondary and tertiary colors.
primary colors
The most basic, basic colors are red, yellow and blue. By mixing them in different proportions, we get all the other colors of the spectrum, and by adding black and white, we get their additional shades.
Complementary colors
Complementary colors (in other words, complementary) are secondary, i.e. created by combining two primary. On the color wheel, they are located opposite the primary color, which they do not contain.
- Red + Yellow = Orange (complementary color - Blue)
- Yellow + Blue = Green (complementary color - Red)
- Blue + Red = Violet (complementary color - Yellow)
We get aesthetic pleasure when we see in the picture, photographs of colors that complement each other. The right palette of colors can significantly increase the visual effect. In photography, by combining complementary colors, we get contrast, which gives the image more dynamism.
When photographing, try to look for these most complementary colors around you. Soon you will notice them everywhere.
Use the theory of the color wheel during staged shooting, when composing.
And at portrait photography this theory will be no less useful. In any photo, colors should be combined, look harmonious. When choosing an outfit for a model, think about what background you will shoot her against, and, based on this, choose the color of the clothes. For example, a model in a yellow dress will look very impressive against a blue or purple background.
Similar colors
These are the colors next to each other on the color wheel.
For example, let's take green and blue-green, these colors are similar, just like yellow-green. Their combination gives a feeling of calmness, harmony.
Warm and cold colors
The color wheel is usually divided into warm and cold colors. Warm colors are: red, yellow, orange. Cold, respectively: green, blue and purple. Interior designers very often use the properties of cold and warm colors. Cold colors can visually enlarge the space, while warm colors give a feeling of home comfort.
These facts can also be applied to photography. When creating a composition, for an object whose color can be attributed to warm, look for the background of the opposite, i.e. cold color. This will add drama to the photo. However, cold-colored objects do not always look harmoniously against a warm background.
Knowing and understanding the physics of color, its psychology, the ability to combine, you can create expressive, spectacular photographs that catch the eye of the viewer. It is the color that creates the whole mood of the photo and highlights one object from the rest.
So, you asked for it. I'm talking about how I get rid of the background. And about how bright “volumetric” photos are obtained (who else talked about “glowing” colors: it’s all about the same thing).
In general, we need to make a candy out of an ordinary picture.
Given: image.
Task: to make beautiful and bright. No problem.
1. Load pictures into the raw converter and choose the one you like.
2. Modifications are small: I move a little exposure and fill light(image becomes brighter), and Clarity, Vibrance and curves (the image becomes brighter and more saturated):
3. Now we load the picture into Photoshop.
4. First of all, we get rid of minor skin defects with the help of tools Healing Brush and Clone Stamp.
5. Like this:
6. Now get rid of the background. This is done easily. In the menu choose Select-Color Range and click on the background. It turns out this mask:
7. But we need the background to go completely. Therefore, we take an eyedropper with a plus sign and draw it over the entire background (depicted with an arrow):
8. We press OK. There was a selection. Now select from the menu Layer - New Fill Layer - Solid Color and choose white. The selection automatically became the mask for this layer:
9. But since the skin tones and the background were similar in places, white holes appeared on the body (and T-shirt). Everything is easily eliminated: choose a standard black brush and paint all the white places in the mask.
10. It turns out like this:
11. Merge both layers into a new layer ( Ctrl+Shift+Alt+E). Liquidify I changed the part I didn't like:
12. Of the obvious jambs, the rear hand is still too dark and the near one is too light. Create two adjustment layers with curves (or levels), add masks to the layers and quickly shade the places that we want to fix.
13. Now let's start creating this very volume, which was asked about. Merge again all layers on a new one, copy it and put the top one in blend mode Screen(meaning Fill set at your discretion).
14. Add a mask to the top layer, invert ( Ctrl+I) and with a white brush (pay attention to opacity!) select those places that should be lighter. It looks something like this:
15. We blur it by Gauss.
18. Now slightly increase the contrast with a new adjustment layer with curves and do the usual sharpening operation ( Filter-Other-High Pass with little value).
19. As a result, we get a picture.
Here are a couple more examples, processed in exactly the same way:
By the way, it is not always possible to get rid of the background in this way. It often happens that the background is complex (many colors, sometimes they also match the color of the object that needs to be selected). In this case, we simply outline the object with paths. Some machines from the factory are usually processed like this:
Who else is interested in knowing?
UPD I screwed up! You can merge all layers onto a new one by pressing Ctrl+Shift+Alt+E!
A photographer who professionally shoots portraits must be familiar with such a science as coloring. It is very important to know at least the basics of color science - which shades get along well with each other, and which nevercreate harmony.
Below we will give some pretty simple tips, knowledge of which will help in the harmonious design of the portrait. Red, yellow, blue… Or what you need to know about color
So, what do you need to know about the nature of color? First of all, in order to systematize shades, people have created a simple color model or, in other words, a color wheel. It is divided into three main parts, corresponding to the basic colors - blue, red and yellow (the well-known CMYK color principle). Here it is worth remembering the first rule - for each primary color, the other two are opposing. A simple scheme emerges: blue opposes red and yellow; yellow - blue and red, and red "does not like" yellow and blue.
It is quite logical that the primary colors create a contrasting pair with secondary, mixed colors. So, red with green (which is a mixture of blue and yellow) being side by side, mutually reinforce each other. In exactly the same way, blue and orange, yellow and purple act in relation to each other. Tertiary colors are created by mixing base colors with secondary colors. For example: red-violet “plum”, blue-green “kerosene”, etc. But the rules for combining tertiary colors with quaternary ones are quite complicated.
When working with white balance, it is extremely important to remember the conditional division of shades into “cold” and “warm”. In addition, it is worth considering that opposing colors can block each other. For example, in a “cold” blue color, yellowish hues are distorted, acquiring an “earthiness” of the color, and in reddish lighting, the green color loses its qualities - it simply fades. All these nuances are very important for a photographer working with color portraits. Many masters do not attach importance to the order in which changes are made: they can make them in the process of preparing for shooting, during the photo shoot itself, or in post-processing. However, there are a number of principles that must be observed:
The subtleties of professional makeup
Traditionally, cold colors are used more in makeup, which is due to the peculiarity of warm ones: reddish “warm” shades often give the model an unhealthy look (very a prime example- "inflamed" eyes from red shadows). However, it should also be taken into account that the shadows of certain cold shades (especially green colors) can also spoil the pictures, emphasizing the redness of the model's eyes. In this case, if the popular “Vizin” is not at hand, then it is better not to use them - the best solution here would be to choose neutral, gray-silver shades of shadows.
It may seem that the dominance of the cold scale is the rule without exception. However, it is not. For example, plum, lilac, purple shades of lipstick are highly undesirable to use if the model’s teeth do not shine with Hollywood whiteness. Here it should be remembered that the bluish tint on the contrast effect only emphasizes the yellowness. In such situations, retouching is no longer enough. With imperfectly white teeth, it is better to choose shades closer to terracotta, bronze or chocolate.
Any colors that have a yellowish tint are also suitable: peach, pink bronze, golden, etc. Red is considered a classic color because it never fails in matters of professional make-up for photography. If red prevails in the skin tone of the fashion model, specialized correctors are used, including greenish pigment particles. This technique makes it possible to "block" the imperfection of the skin.
All these rules of "portrait" coloring are extremely important for a photographer working in a studio, even if he has a professional makeup artist on his staff. The participation of a stylist is highly desirable, since one of his working tasks is to create an ensemble that is harmonious in color. A good makeup artist will not only select the “right” shades of cosmetics, but will also be able to advise which color elements to use to complement the image. If there is no professional make-up artist on the set, and the make-up is performed by the fashion model herself or someone else, it is necessary Special attention pay attention to the color scheme of the picture. We wish you good luck in your work and creating harmonious portraits!
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