30
MSC 154 MSC 154 Marine Photography Marine Photography Color Color Photography Photography With Excerpts and examples from: Color Photography: A Working Manual Henry Horenstein, Little, Brown & Company, USA, 1995 Photography 9 th . Ed., London, Upton, Stone, Kobré, Brill, Prentice Hall,

MSC 154 Marine Photography Color Photography With Excerpts and examples from: Color Photography: A Working Manual Henry Horenstein, Little, Brown & Company,

Embed Size (px)

Citation preview

Page 1: MSC 154 Marine Photography Color Photography With Excerpts and examples from: Color Photography: A Working Manual Henry Horenstein, Little, Brown & Company,

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

Page 2: MSC 154 Marine Photography Color Photography With Excerpts and examples from: Color Photography: A Working Manual Henry Horenstein, Little, Brown & Company,

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.

Page 3: MSC 154 Marine Photography Color Photography With Excerpts and examples from: Color Photography: A Working Manual Henry Horenstein, Little, Brown & Company,

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

Page 4: MSC 154 Marine Photography Color Photography With Excerpts and examples from: Color Photography: A Working Manual Henry Horenstein, Little, Brown & Company,

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.

Page 5: MSC 154 Marine Photography Color Photography With Excerpts and examples from: Color Photography: A Working Manual Henry Horenstein, Little, Brown & Company,

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.

Page 6: MSC 154 Marine Photography Color Photography With Excerpts and examples from: Color Photography: A Working Manual Henry Horenstein, Little, Brown & Company,

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.

Page 7: MSC 154 Marine Photography Color Photography With Excerpts and examples from: Color Photography: A Working Manual Henry Horenstein, Little, Brown & Company,

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.

Page 8: MSC 154 Marine Photography Color Photography With Excerpts and examples from: Color Photography: A Working Manual Henry Horenstein, Little, Brown & Company,

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.

Page 9: MSC 154 Marine Photography Color Photography With Excerpts and examples from: Color Photography: A Working Manual Henry Horenstein, Little, Brown & Company,

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

Page 10: MSC 154 Marine Photography Color Photography With Excerpts and examples from: Color Photography: A Working Manual Henry Horenstein, Little, Brown & Company,

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

Page 11: MSC 154 Marine Photography Color Photography With Excerpts and examples from: Color Photography: A Working Manual Henry Horenstein, Little, Brown & Company,

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.

Page 12: MSC 154 Marine Photography Color Photography With Excerpts and examples from: Color Photography: A Working Manual Henry Horenstein, Little, Brown & Company,

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.

Page 13: MSC 154 Marine Photography Color Photography With Excerpts and examples from: Color Photography: A Working Manual Henry Horenstein, Little, Brown & Company,

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.

Page 14: MSC 154 Marine Photography Color Photography With Excerpts and examples from: Color Photography: A Working Manual Henry Horenstein, Little, Brown & Company,

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.

Page 15: MSC 154 Marine Photography Color Photography With Excerpts and examples from: Color Photography: A Working Manual Henry Horenstein, Little, Brown & Company,

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.

Page 16: MSC 154 Marine Photography Color Photography With Excerpts and examples from: Color Photography: A Working Manual Henry Horenstein, Little, Brown & Company,

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.

Page 17: MSC 154 Marine Photography Color Photography With Excerpts and examples from: Color Photography: A Working Manual Henry Horenstein, Little, Brown & Company,

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).

Page 18: MSC 154 Marine Photography Color Photography With Excerpts and examples from: Color Photography: A Working Manual Henry Horenstein, Little, Brown & Company,

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

Page 19: MSC 154 Marine Photography Color Photography With Excerpts and examples from: Color Photography: A Working Manual Henry Horenstein, Little, Brown & Company,

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.

Page 20: MSC 154 Marine Photography Color Photography With Excerpts and examples from: Color Photography: A Working Manual Henry Horenstein, Little, Brown & Company,

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

Page 21: MSC 154 Marine Photography Color Photography With Excerpts and examples from: Color Photography: A Working Manual Henry Horenstein, Little, Brown & Company,

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

Page 22: MSC 154 Marine Photography Color Photography With Excerpts and examples from: Color Photography: A Working Manual Henry Horenstein, Little, Brown & Company,

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

Page 23: MSC 154 Marine Photography Color Photography With Excerpts and examples from: Color Photography: A Working Manual Henry Horenstein, Little, Brown & Company,

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

Page 24: MSC 154 Marine Photography Color Photography With Excerpts and examples from: Color Photography: A Working Manual Henry Horenstein, Little, Brown & Company,

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.

Page 25: MSC 154 Marine Photography Color Photography With Excerpts and examples from: Color Photography: A Working Manual Henry Horenstein, Little, Brown & Company,

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

Page 26: MSC 154 Marine Photography Color Photography With Excerpts and examples from: Color Photography: A Working Manual Henry Horenstein, Little, Brown & Company,

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

Page 27: MSC 154 Marine Photography Color Photography With Excerpts and examples from: Color Photography: A Working Manual Henry Horenstein, Little, Brown & Company,

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.

Page 28: MSC 154 Marine Photography Color Photography With Excerpts and examples from: Color Photography: A Working Manual Henry Horenstein, Little, Brown & Company,

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

Page 29: MSC 154 Marine Photography Color Photography With Excerpts and examples from: Color Photography: A Working Manual Henry Horenstein, Little, Brown & Company,

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!

Page 30: MSC 154 Marine Photography Color Photography With Excerpts and examples from: Color Photography: A Working Manual Henry Horenstein, Little, Brown & Company,

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