THE PHOTOGRAPHIC EYE

One key to effective color
photography is including an appropriate
number of colors in any
single photograph. Though lots of
splashy colors may be perfect for
some subjects, others—such as this
winter detail— achieve greater impact
with a limitedpallette. Notice how the
green leaves stand out clearly from the
more neutral brown and white background.
Student photograph by Mark
Harrington.
244 The Photographic Eye
The basic photographic process
stays the same. Light enters the
camera and exposes silver crystals on
film. The main difference is that the
film has four layers, each of which
captures one color of light. When
these layers are dyed the right colors,
they produce overlapping dots which
produce a wide range of tints and
shades. The result is a color image.
The equipment also stays the same,
for the most part. You use the same
camera and same lenses. If you do
your own processing, temperature
control becomes more important due
to more sensitive chemicals. The
enlarger must be equipped with filters
for color printing. Outside of that,
and a number of additional steps, the
procedures remain similar.
What changes? The most obvious
change is that colors will be recorded
as colors, instead of black, white or
gray. As a result, you'll need to be
aware of whether those colors complement
each other or clash. You'll
have to pay attention to the ability of
some colors to "steal" attention away
from what you've chosen as the subject.
You'll also have to learn to control
the range of colors in a photograph:
how many colors are in it, and
how bright or dark they are.
Finally, you'll have to choose between
negative (print) or reversal
(slide) film. Each has its benefits and
drawbacks and is suited to a specific
kind of work. You'll also have to
spend more money.
The following sections will provide
a brief discussion of each of these
issues.