People have also
used a manual white balance on an object that is far from white. The shots came
out crazy but nice, and actually not as off as you might think. This is another
strategy for creative control.
OVER the TOP COLOR
Some subjects can
shot more or less as is if their color itself is over the top.
Particular light with a minimal subject works to create an
almost surreal sense.
ambient light in an interior space can evoke emotional impact.
EXTREME TIME OR WEATHER
Sunlight or the lack thereof creates ambience or ‘feel’.
|fog at 3 AM
Arctic sun and fire in the desert may be hard to find in an unban environment, but…
through CLOSE FOCUS and/or SUBDUED COLOR
of the peripheral space and reducing the information in a piece, added to a
reduction in color range is an example of ‘Form Supporting Content’.
RESTRICTED VIEWPOINT / RESTRICTED VISION
viewers view combined with restricted color creates interaction between artist
REFLECTED LIGHT /
A key point in dynamic photos is Luminance - making it look like the light is coming from the objects in the print, not just falling on them. A classic tool to
achieve luminance in a print is to include reflective surfaces, most notably water.
COLOR BALANCE changes HOUR by HOUR
The color of the
sunlight changes continually with the time of day. The most extreme tonalities
are at dawn and dusk. One can shoot at these times, or digitally manipulate the
tonality of a photo to mimic these shooting conditions. One can also study the
changes in color with the seasons and use these to convey feeling.
COLOR SHIFT in NATURE / VARIATIONS on a THEME
Varying the angle of view, or time of day, or even change in season can produce interesting variations in what might othewise appera very similar if not the same.
MULTIPLE IMAGING / COLLECTIONS
pictures may be too simple to stand on their own, they gain power by being
placed in a group.