Howard Moo Young, Contributor
Photo by Howard Moo Young
WHAT'S THE brightest colour? A physiologist will tell you it's yellow-green. But artists, psychologists, and photographers know it's RED the colour of warning, danger, heat, passion, blood, anger, and emergencies, not to mention blushing and bold self-assertion. On the other hand, green and blue are equated with more soothing, calm and sombre moods.
Isn't it any wonder that red occupies a special niche in colour photography, given its raw, evocative energy and the depth and range of its associations? Since the earliest days, photographers and artists have used the crimson hue to express everything from total explosive force to a touch of local colour, exploiting its inherent power to rivet the viewer's attention. The pictures on these pages demonstrate, however, red's versatility extending far beyond graphic impact. It can be equally effective as a unifying force, a subtle accent, or a counterpoint.
BIGGEST BOOST
When Kodak introduced its 35mm Kodachrome slide film in 1936, red got its biggest boost arguably the first colour film capable of reproducing red with full richness and intensity. Even today, photographers who still shoot film, such as those attached to National Geographic magazine and who want sizzling, saturated reds still turn to Kodachrome 25 and 64, although some are now shooting with digital cameras. Nevertheless Fuji introduced its Velvia slide film years after, to deliver saturated reds, yellows and greens to give that extra boost to subjects that called for it, e.g. Carnivals, street parades, and resort brochures.
Good colour photos are rarely accidental. Although it takes practice, you can learn to make some colours prominent, while subduing others. Learning how to do this is mostly a matter of training your eye to recognise compositions in which a colour predominates. You might try isolating one colour to tell a story.
There is one golden rule in photography: Great colour won't compensate for poor composition. The eye of a good photographer tends to selectively weed out distracting elements, but the camera's lens will render a scene just the way it was. Take the time to look around the viewfinder, and compose your photos carefully. Also, when we look at an object in various kinds of light, our brain automatically makes the necessary adjustments. For instance, a bowl of red hot peppers will give you various shades, from dark crimson to sizzling hues, depending on the varying lighting conditions you create. This way, you can purposely produce a particular mood in your photos.
BE CREATIVE
Be creative when looking for a colour subject to photograph. When most people think of red, they usually think of dawns, sunsets, and flowers. Although these are common subjects, try challenging yourself by shooting subjects that are less frequently photographed. Zoom in for a close-up on the detail of a red fire truck, isolate a good specimen of red ginger lily, a close-up of beautiful lips painted with bright red lipstick, a basket of ripe, red tomatoes in Coronation Market, or the red ceremonial uniforms of the Jamaica Regiment on parade at King's House.
There are many interesting options for using colour as your subject - get out there and see how many you can find, you'll learn to see red and other colours in a total different light.
Howard Moo Young is an Advertising / Graphic Design/ Photography Consultant with over 40 years experience. Email: howardmooyoung@getcaughtmedia.com
