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Scheme No. 1. Complementary combination
Complementary, or complementary, contrasting colors 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 No. 2. Triad - a combination of 3 colors
A combination of 3 colors lying at the same distance from each other. Provides high contrast while maintaining harmony. This composition looks quite lively even when using pale and desaturated colors.
Scheme No. 3. Similar combination
A combination of 2 to 5 colors located next to each other on the color wheel (ideally 2–3 colors). Impression: calm, inviting. 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 color combination, but instead of the opposite color, neighboring colors are used. A combination of the main color and two additional ones. This scheme looks almost as contrasting, but not so intense. If you are not sure that you can use complementary combinations correctly, use separate-complementary ones.
Scheme No. 5. Tetrad - combination of 4 colors
A color scheme where one color is the main color, two are complementary, and another one highlights the accents. Example: blue-green, blue-violet, red-orange, yellow-orange.
Scheme No. 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.
- Grey: with fuchsia, red, purple, pink, blue.
- Pink: with brown, white, mint green, olive, gray, turquoise, baby blue.
- Fuchsia (deep pink): with grey, 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, sand, pale yellow, beige.
- Raspberry red: white, black, damask rose color.
- Brown: bright blue, cream, pink, fawn, green, beige.
- Light brown: pale yellow, creamy white, blue, green, purple, red.
- Dark Brown: Lemon Yellow, Blue, Mint Green, Purple Pink, Lime.
- Tan: pink, dark brown, blue, green, purple.
- Orange: blue, blue, lilac, violet, white, black.
- Light orange: gray, brown, olive.
- Dark orange: pale yellow, olive, brown, cherry.
- Yellow: blue, lilac, light blue, violet, gray, black.
- Lemon yellow: cherry red, brown, blue, gray.
- Pale yellow: fuchsia, grey, brown, shades of red, tan, blue, purple.
- Golden yellow: gray, brown, azure, red, black.
- Olive: orange, light brown, brown.
- Green: golden brown, orange, light green, yellow, brown, gray, cream, black, creamy white.
- Salad color: brown, tan, fawn, gray, dark blue, red, gray.
- Turquoise: fuchsia, cherry red, yellow, brown, cream, dark purple.
- Electric blue is beautiful when paired with golden yellow, brown, light brown, gray or silver.
- Blue: red, gray, brown, orange, pink, white, yellow.
- Dark blue: light purple, light blue, yellowish green, brown, gray, pale yellow, orange, green, red, white.
- Lilac: orange, pink, dark purple, olive, gray, yellow, white.
- Dark Purple: Golden Brown, Pale Yellow, Grey, Turquoise, Mint Green, Light Orange.
- Black is universal, elegant, looks in all combinations, best with orange, pink, light green, 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 shapes of objects and gives them through the use of a series of expressive means certain semantic coloring. Among the main such means is playing with light and color. They carry the idea of the photographer’s creative intent. With the help of light, you can model volumes, emphasize their plasticity, density or weight, if this is required by the idea of the photograph. Color makes the photographic image appear more reliable and closer 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 color reproduction, created by Thomas Young in 1807. He proved that any color can be reproduced by mixing 7 spectral colors, but for simplified reproduction, three basic ones are enough: blue, green and red. It is noteworthy that this fact was known to artists for a long time, but writing scientific works They somehow didn’t bother about this topic. The invention of color photography was first announced back in 1850. Here is a photo taken by Levi Hill. He called this process heliochrolmia.
In 1851, the English photographer Williams, the father of stereo photography, presented the public with colored daguerreotypes, but it was not at all the same. Actually for a very long time color photography I went the coloring route. Many photographers were artists or hired artists to create color images. This method existed until the beginning of the 20th century.
Color photography appeared in the mid-19th century. The first permanent color photograph was taken in 1861 by James Maxwell using three-color photography (color separation method). To obtain a color photograph using this method, three cameras with color filters installed on them (red, green and blue) were used. The resulting photographs 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 combined slide projections, was not a separate photograph.
The first reliable color photographic images captured on a tangible medium were obtained by French inventors Louis Arthur Ducos du Hauron and Charles Cros in the late 1860s.
Louis Arthur Ducos du Hauron - on November 23, 1868, patented “trichromy” - a full-cycle color photographic process that included shooting negatives through green, orange and violet filters, positive printing on thin gelatin plates, sensitized with a solution of potassium chromium 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 the Problem” (French: Les Couleurs en Photographie, solution du problème). In 1877, he took 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 the most important step The development of the three-color photography method was the discovery in 1873 by the German photochemist Hermann Wilhelm Vogel of sensitizers, that is, substances capable of increasing the sensitivity of silver compounds to rays of different wavelengths - to rays of different colors. Vogel managed to obtain a composition that was sensitive to the green part of the spectrum. Practical use Three-color photography became possible after Vogel's student, the German scientist Adolf Mithe, developed sensitizers that made the photographic plate sensitive to other parts of the spectrum. He also designed a camera for three-color photography and a three-beam projector for displaying the resulting color photographs. This equipment was first demonstrated in action by Adolf Mithe in Berlin in 1902.
A great contribution to the further improvement of the three-color photography method was made by Adolf Miethe’s student Sergei Prokudin-Gorsky, who developed technologies that made it possible to reduce shutter speed and increase the possibility of reproducing 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 regard.
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 was probably similar to the camera system of the German chemist A. Mitya). Through color filters of blue, green and red, three quick photographs of the same scene were taken in succession, after which three black and white negatives were obtained, located one above the other on one photographic plate. From this triple negative a triple positive was produced (probably using the contact printing method). To view such photographs, a projector with three lenses was used, located in front of three frames on a photographic plate. 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, 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. “Petersburgskaya Gazeta” reported in December 1906 that, by improving the sensitivity of his plates, the researcher intended to demonstrate “snapshots in natural colors, which represents a great success, since no one has yet obtained them.” Perhaps the display of projections of Prokudin-Gorsky's photographs became the world's first slide demonstrations.
Prokudin-Gorsky contributed to two existing directions for improving color photography at that time: reducing shutter speed (using his method, Prokudin-Gorsky managed to make exposure possible in a second) and, secondly, increasing the possibility of reproducing the image. He presented his ideas at international congresses on applied chemistry.
The photographs 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 simply shifting the plate.
Together with Sergei Maksimovich Prokudin-Gorsky, he worked on the design of a movie camera for color filming using his method and filmed in Turkestan in 1911. For the development of color cinematography and color printing, with his participation, in 1914, several major industrialists established Joint-Stock Company"Biochrome", to which property rights to the Prokudin-Gorsky collection were transferred. 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 producing cheap color film transparencies for cinematography. In 1922, he received an English patent for an optical system for producing three negatives through filters in one exposure.
There was also a way by which images from photographic plates could be obtained on paper. Until 1917, more than a hundred color photographs of Prokudin-Gorsky were printed in Russia, 94 of which 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 actively develop from the beginning of the 20th century. In particular, in 1907, the Lumière Brothers' Autochrome photographic plates were patented and went on free sale, making it relatively easy to obtain color photographs. Despite numerous disadvantages (rapid fading of paints, fragility of plates, grainy images), the method quickly gained popularity and until 1935, 50 million autochrome plates were produced worldwide.
Alternatives to this technology appeared only in the 1930s: Agfacolor in 1932, Kodachrome in 1935, Polaroid in 1963. In 1932, the German company Agfa released Agfacolor-Neu color reversible film. The film was offered to the attention of photo and film lovers, made according to 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 slide is ready! I don’t know how much this film cost, but I suspect it was quite expensive. However, wealthy citizens of the Third Reich had the opportunity to spend their Reichsmarks wisely: shoot the film, send it to the laboratory and after a few days or even hours look at the color slides - through a diascope or using a slide projector, which in those days was no longer called a “magic lantern” ", and in a military manner: Bildwerfer. Moreover, you could 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, an American branch of the Agfa concern, launched the production of Ansco Color film, which differed from Agfacolor only in name. The main customer of the film was the MGM studio, which supplied 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 a negative process, the Kodacolor method ushered in the era of instant color photography. Color printing became extremely popular, but instant color photography developed just as rapidly. Back in the late 40s, the Polaroid Corporation sold the first kit for making black and white photography in 60 seconds, and by 1963 the modernization necessary to produce color photographs within a minute was completed. The owner of a Polaroid camera with Polycolor film only needs to click the shutter, pull the tab and watch in amazement as the people or objects he photographed 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 this is required by the idea of the photograph. Color makes the photographic image appear more reliable and closer to the real shapes of objects. Color has a number of physical characteristics that ultimately affect its perception in photography.
The primary colors in photography are red, green, blue (RGB) - an additive color model that typically describes how color is synthesized for color reproduction. The choice of primary colors is determined by the physiology of color perception by the retina of the human eye. It is called additive because colors are obtained by adding (English addition) to black. When you add all three, you get white light. Complementary colors are placed opposite each other on the light circle - cyan and red, magenta and green, yellow and blue. If you mix the primary color with an additional one, which lies diametrically opposite it, you can get gray.
Achromatic colors - shades of gray (in the range white - black) are paradoxically called achromatic (from the Greek α - negative particle + χρώμα - color, that is, colorless) colors. The brightest achromatic color is white, the darkest is black. You can notice that with a maximum decrease in saturation, the hue (relation to a certain color of the spectrum) of the hue becomes indistinguishable.
Color characteristics
Each color has quantitatively measurable 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 brightness, like other color characteristics of a real colored object, significantly depend on subjective reasons determined by the psychology of perception. So, for example, blue color when adjacent to yellow seems brighter
Saturation - two shades of the same tone can differ in the degree of fade. For example, as the saturation decreases, the blue color moves closer to gray.
Lightness - the degree of closeness of a color to white is called lightness. Any shade becomes white when the lightness is increased to the maximum.
Color tone is a set of color shades similar to the same color of the spectrum. Any chromatic color can be assigned to any specific spectral color. Shades that are similar to the same color of the spectrum (but differ, for example, in saturation and brightness) belong to the same tone. When the tone changes, for example, blue to the green side of the spectrum, it is replaced by blue, and in the opposite direction - 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 lighting, 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 thermal nature, then this spectrum can be associated with a certain temperature to which an absolutely black body must be heated so that its radiation has the same spectral composition. This temperature is called color temperature. Color temperature is measured in Kelvin.
Color temperature of a light source: characterizes the spectral composition of the light source’s radiation and is the basis for the objectivity of the impression of the color of reflecting objects and light sources.
White balance (also briefly called white balance) is one of the parameters of the color image transmission method, which determines the correspondence of the color gamut of the image of the object to the color gamut of the subject being photographed. 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, but the film, the television camera, and digital camera will reproduce some 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, and by fluorescent lamps - green, pink or purple (for different types lamps), on a stage illuminated by a cloudless sky, the shadows will be blue. Although often this property digital cameras can be used to add extra interest to a photo, as in the following examples.
Sometimes a change in color tone is correlated with the “warmth” of a color. Thus, red, orange and yellow shades, as they correspond to fire and cause corresponding psychophysiological reactions, are called warm tones, blue, indigo and violet, like the color of water and ice, are called cold. It should be taken into account that the perception of the “warmth” of color depends on both 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 photography 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 directed (direct) and scattered by the atmosphere. A secondary source of natural light is the sky. Both light is reflected by the surfaces of the objects being photographed.
In the early morning and early evening hours, 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. The spectrum changes; blue, indigo and white rays begin to predominate in it.
Depending on the height of the sun, natural light is divided into periods of spectacular (low) morning and evening, normal, zenith and twilight lighting. With spectacular lighting, horizontal rays of the sun form long elongated shadows from objects, well revealing the terrain, volumes of objects and plans.
Color content carries a great semantic, emotional and aesthetic load in the art of photography. The correct placement of color accents helps create a compositional solution. Colors, while 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: according to the principle of subordination or according to the principle of coordination. In the first case, any color spot is considered the main or dominant one, and all other colors correlate with it, harmonizing or contrasting.
In contrast, coordination occurs in images containing multiple gradations of the same color that are interrelated and coordinated with each other.
Use of color when building a composition.
Contrast - the use of contrasting colors in photography is a powerful creative tool that creates images that attract attention. The strongest color contrasts are obtained when the primary color is combined with an opposing complementary color of the same strength. Good example- yellow with blue. They provide a sharp contrast when combined in one photo. The effect is weakened when one color takes up more space in the photo than another, or when one of those colors is stronger than the other. Another factor to consider is how certain colors perform on their own. Warm colors - such as red and yellow - “protruding”, while cold colors - blue, green - “receding”, remind us of the expanses: sea, sky, countryside. So, if you combine a warm color with a cool color, the warm color will certainly dominate the photo; even in small quantities, the cool color will form an attractive background. Contrast forces comparison of objects in the frame
There is a distinction between one-dimensional contrast - 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. Nuance is the interaction in a composition of several objects that are similar in some way. These are minor differences between elements in the composition in the same categories. One-dimensional and multidimensional nuances are also distinguished. In nuanced forms there is more similarity, and the difference is just a little bit.
Identity is similar in meaning to rhythm in a 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, and beautiful. 2) the relation of an identical element to space must be observed.
Symmetry is the 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, helical. Mirror. This is 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 another. Axial symmetry. This is symmetry about an axis, the line of intersection of two or more planes of symmetry. (In axial symmetry, the element itself must have an asymmetrical 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. Helical symmetry. The element simultaneously performs rotational and translational motion around an axis.
Asymmetry is a composition option in which the combination and arrangement of elements, axes, and planes of symmetry are 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. The color red is associated with blood, revolution, love, hate and is sometimes used as a means of warning. But orange and yellow are calm colors that remind us of warmth and sun. As for cold colors, blue is associated with the free expanse of heaven and sea, as well as coldness and loneliness. Finally, green - the natural color of nature - is reminiscent of dense forests, the birth of something new, and beauty. Of course, to evoke these feelings, it is not enough to simply include this or that color in the frame, but one should remember their power on the subconscious when filming this or that scene. So, for example, a fiery sunset shot with an orange filter will radiate warmth, while a photo of a cold, foggy day with a blue tint may send shivers down your spine.
Colors are sometimes called heavy or light. Heavy colors include dark colors: black, blue, purple and all tones darkened with black paint. For the light ones - white, red, yellow and all colors whitened with white paint.
Color has many objective and subjective properties, and the photographer’s task is to competently use knowledge about these properties to obtain truly interesting photographic images.
Remember the photographs that, thanks to their color palette, really impressed you and caught your eye. Moreover, the presence of bright colors is not at all necessary; these photographs stand out among others thanks to the color relationship that the photographer himself builds.
To use and benefit from all the countless shades of color, we must have a good understanding of color theory. In this article, we briefly outlined for you the main 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; you may have studied its structure in drawing lessons as a child. We invite you to refresh your knowledge.
We need the color wheel to understand how colors interact with each other, how they are combined. This is exactly what it was created for.
Within the color wheel, there are primary, secondary and tertiary colors, which together form the color spectrum. Thanks to this division, it is much easier to consider the relationship between colors. All initial colors are the brightest in the spectrum, adding white to them, we get lighter, pastel shades, adding black, we get colors in dark tones, 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. are created by connecting two primary ones. 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 is Red)
- Blue + Red = Purple (complementary color is Yellow)
We get aesthetic pleasure when we see colors in a painting or photograph that complement each other. A correctly selected color palette can significantly increase the visual effect. In photography, by combining complementary colors, we achieve contrast, which gives the image greater 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 filming and when composing a composition.
And when portrait photography this theory will be no less useful. In any photograph, the colors should be combined and look harmonious. When choosing an outfit for a model, think about what background you will be photographing her against, and, based on this, choose the color of the clothing. For example, a model in a yellow dress will look very impressive against a blue or purple background.
Similar colors
These are colors that are located 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 calm and harmony.
Warm and cool colors
The color wheel is usually divided into warm and cool 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. Cool colors can visually enlarge the space, while warm colors give a feeling of homeliness.
These facts can also apply to photography. When creating a composition, for an object whose color can be classified as warm, look for a background of the opposite, i.e. cold color. This will add drama to the photo. However, cold-colored objects do not always look harmonious against a warm background.
Knowing and understanding the physics of color, its psychology, and the ability to combine, you will be able to create expressive, spectacular photographs that attract the viewer’s eye. It is color that creates the entire mood of a photograph and makes one object stand out from the rest.
So, you asked for it. I'm talking about how I get rid of the background. And about how bright “voluminous” photographs are obtained (who else spoke about “luminous” colors: it’s all about the same thing).
In general, we need to make candy out of an ordinary picture.
Given: image.
Task: to make it beautiful and bright. No problem.
1. Load the images into the raw converter and select the one you like.
2. Small modifications: I move it a little Exposure And Fill Light(the image becomes lighter) and Clarity, Vibrance and curves (the image becomes brighter and more saturated):
3. Now upload the image to Photoshop.
4. First of all, we get rid of minor skin defects using tools Healing Brush And Clone Stamp.
5. Like this:
6. Now we get rid of the background. This is easy to do. Select from the menu Select - Color Range and click on the background with the eyedropper. The result is a mask like this:
7. But we need the background to go away entirely. Therefore, we take a pipette with a plus sign and draw it over the entire background (depicted with an arrow):
8. Click OK. The result was a selection. Now select from the menu Layer - New Fill Layer - Solid Color and select white color. The selection automatically became the mask of this layer:
9. But since the skin tones and background were similar in places, white holes appeared on the body (and T-shirt). Everything can be easily eliminated: select 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). Liquifaem I changed the part that I didn't like:
12. Of the obvious jambs, the back hand is 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 correct.
13. Now we begin to create this very volume that was asked about. Merge all the layers again into a new one, copy it and set the top one to blend mode Screen(meaning Fill we put it at our discretion).
14. Add a mask to the top layer, invert ( Ctrl+I) and with a white brush (pay attention to the opacity!) select those places that should be lighter. It looks something like this:
15. Blur it according to Gaussian.
18. Now slightly increase the contrast with a new adjustment layer with curves and perform the usual sharpening operation ( Filter - Other - High Pass with a small 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 highlighted). In this case, we simply outline the object with paths. Some machine tools 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 using the combination Ctrl+Shift+Alt+E!
A photographer who professionally takes portraits must be familiar with the science of color. It is very important to know at least the basics of color science - which shades get along well with each other and which ones neverwill create 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, to systematize shades, people 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 is opposed to 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 and green (which is a mixture of blue and yellow), being side by side, mutually reinforce each other. Blue and orange, yellow and purple behave in exactly the same way in relation to each other. Tertiary colors arise after mixing primary and secondary colors. For example: red-violet “plum”, blue-green “kerosene”, etc. But the rules for combining tertiary colors with quaternary ones are quite complex.
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 shades are distorted, acquiring an “earthy” 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 of making changes: they can make them in the process of preparing for shooting, during the photo shoot itself, or during post-processing. However, there are a number of principles that must be followed:
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 shining example– “inflamed” eyes from red shadows). However, it is also worth considering that the shadows of certain cool shades (especially green tones) can also spoil the pictures, emphasizing the redness of the model’s eyes. In this case, if you don’t have the popular Visine on hand, then it’s better not to use them - the optimal solution here would be to choose neutral, gray-silver shades of eyeshadow.
It may seem that the dominance of cold colors is the rule without exception. However, it is not. For example, plum, lilac, violet shades of lipstick are extremely undesirable to use if the model’s teeth do not shine with Hollywood whiteness. It should be remembered here that the bluish tint in the contrast effect only emphasizes the yellowness. In such situations, you can no longer do without retouching. For 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 makeup for photography. If red predominates in the skin tone of a fashion model, specialized correctors are used, including greenish pigment particles. This technique makes it possible to “block” skin imperfections.
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 very desirable, since one of his work 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 look. If there is no professional makeup artist on the set, and the make-up is performed by the model herself or someone else, it is necessary Special attention pay attention to the color scheme of the photo. We wish you good luck in your work and creating harmonious portraits!
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