Look OUT for Compl emen­tary Colours

NPhoto - - Special Feature -

What ’s the Big Idea?

Sum­mer­time is burst­ing with com­ple­men­tary colours such as red pop­pies with green grass, a yel­low sun­flower against pur­ple irises and a deep or­ange sand dune lead­ing to a blue sky, as shown be­low. Putting these colours to­gether will cre­ate strik­ing im­ages, but first let’s un­der­stand the ba­sic prin­ci­ple be­hind com­ple­men­tary colours so it will help you iden­tify sub­jects when you are out shoot­ing.

If you take any of the three pri­mary colours (red, blue and yel­low) and mix the other two colours to­gether, the re­sult­ing colour is the com­ple­men­tary colour of the pri­mary colour. So, to get the com­ple­ment of red, mix yel­low and blue to­gether to make green. To get the com­ple­ment of blue, mix red and yel­low to­gether to get or­ange. To get the com­ple­ment of yel­low, mix red and blue to­gether to pro­duce pur­ple. Look at a colour wheel: any colours that are op­po­site each other are com­ple­men­tary colours. When you use them to­gether in an im­age, it cre­ates a strik­ing colour con­trast that will make your im­age pop. Com­ple­men­tary colours are used all the time in advertising to make the ads stand out.

What ’s the Key?

The key to this tech­nique is recog­nis­ing which colours will work to­gether, and ex­e­cut­ing the shot in a way that makes these colours as bold as pos­si­ble. In this im­age of a sand dune in Mon­u­ment Val­ley, I used a po­lar­is­ing fil­ter to sat­u­rate the colours more. The side light­ing not only en­abled max­i­mum po­lar­i­sa­tion, it also brought out the pat­terns in the sand. This has helped to cre­ate an im­age that leaps off the page and de­mands the viewer’s at­ten­tion.

Newspapers in English

Newspapers from Australia

© PressReader. All rights reserved.