I’ve got an old photography book called Colour in your Camera by Gösta Skoglund. The subtitle is ‘a book of colour photographs to show how to make colour photographs’. No punning or obscure titles here – this book is clear in its intentions.
What brought it to mind is that I’ve been thinking about colour recently. This, despite the majority of my pictures being black and white. Film-makers have made increasing use of the facility with digital capture of changing the overall colour balance of a film, or of using specific coloured lighting to set the mood of scenes. People joke about the Mexico filter, where the scene is rendered with strong yellow/ orange cast to make it look dusty and desert-like.
The reason why I even have to think about colour is that I’m late to the party (as usual). I started out using mostly black and white film and still shoot a lot of mono. I’ve even set one of my digital cameras to save and show a mono jpeg but keep the full colour version as a raw file. I like thinking about tone and shape. And then colour came along. Originally I shot colour slide film, as it was “pure”. Even then, the quick-result colour processsors could give you strange colour casts in your prints. I had some idea in my head that slide film retained the artist’s true vision (cue laughter and me slapping myself on the head). I think I had just read too many photography magazines.
What I missed with my gradual movement to using digital was that I was no longer at the mercy of the developer and printer – I could change the colours myself. I also got a total slap upside the head (I get lots of these) from my wife when we were looking at paint for the house. The big display of colour cards at the local DIY store was not a finely-graded copy of a rainbow but had some method behind it. Going side to side at a fixed horizontal level showed you colours with the same tonal value. This meant that, under the same lighting, different rooms would not be brighter or darker unless you meant them to be. Going verticaly up the colour swatches kept the same colour but varied the tonal value, so I could keep the particular shocking pink or acid green I had set my heart on and vary the brightness to suit the room or lighting.
Who knew? Well not me, obviously. I’m not sure I am colour-blind but I do appear to be colour-stupid. Or is it tone-deaf? What I have found to play and learn with is a colour wheel that will show me complimentary or contrasting colours.
There have been a couple of articles on t’interweb recently that got me thinking more about what colour means. One was a run-through of how colours are used to express mood. I also dived down the rabbit hole following a detailed analysis of the colours used in the film Ad Astra. The analysis was right – there is a very strong use of colour and colour cues in the film (it’s a shame it wasn’t also a good film, but it does mean you can focus on the colours).
I wonder if still photography can be as subtle as cinema though? In a film the viewer is hopefully concentrating on the story and action, and the colours are perhaps subtle clues that inform the viewer but may not even be noticed? A still image rests before the viewer with no distraction, so perhaps it gets more scrutiny? It has got me thinking, anyway. I wonder if I could experiment with strong ‘unnatural’ colours. I’ve also done some split toning of mono images before, so I will be using the colour wheel to look at the effect of making the highlight and shadow colours truly complimentary or analogous.
I am also playing with spot colour or overall tone for mood.
So while I might be the last person to discover this, I’m going to spend more time both noticing the colours that exist and choosing the colours I use. Amusingly, I will be doing this as we head into our British winter, where the predominant colour is grey. So are there any other good resources I could study while I wait for the sun to return?