Leading lines create a sense of continuance…

A quick history of Gestalt theory

In the early 20th century, a group of German psychologists developed a set of theories on visual perception.  They referred to them as Gestalt principles and used them to describe the human perception of visual information. The origin of the word is, of course, also German. Gestalt simply means shape, form, or the whole. Some experts in the field say that each individual part of an image has its own meaning. When you pull them together, they make a whole, but not necessarily with the same meaning. So when you use the Gestalt approach in your photography, you’re actually structuring these individual parts in one completed image. 

Gestalt principles of photography

Visual input is a part of everyday human life. It’s in our nature to try to make sense of the environment that surrounds us. As photographers, it’s our job to present this visual information in a controlled way. That’s how we take charge of what the viewer sees when looking at our photographs. 

You can use more than one principle in a single image (continuance & the law of common fate)

Don’t get intimidated by the technical terms, Gestalt is not that hard to understand and you probably know a lot of these principles already. They’re all around us and it’s just a matter of noticing them. Although there are many concepts, the six main principles of Gestalt in photography are figure-ground, similarity, closure, continuance (leading lines), proximity, and the law of common fate. Each principle is unique but fairly simple to understand. For a more detailed description of these principles, check out our Composition series.

The similarity is one of the easiest principles to apply…

Connecting the dots

How do we use the Gestalt approach in photography? We simply pay careful attention to each and every element in front of our lens. What do you see when you look through the viewfinder? Are there any elements missing? Or maybe there’s too much going on? Are you going to stand up or kneel down? All of these questions have to do with Gestalt theory, and you’ll have a much easier time answering them once you apply the theory to real life.

Allow the viewer to draw their own conclusions by playing with closure…

Learn how to arrange elements in your photographs in a way that will draw the viewer in. You will be able to create visually stunning images, just by making a few small changes in your perception. Take control over your composition and you’ll see the results in no time!

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Play with the cropping of your photo

Shapes exist in nature and are generally separated by lines. These are the high contrast areas that close in a specific shape and emphasize it. Differing light and color areas, as well as contrast, define different shapes. You could say that all photography is shape photography. Almost every photograph contains one or more shapes, but truly great photographers use them in their unique way.

Everyone can recognize the shape of a bird, even though it’s only a silhouette

Shape and form photography

Shape and form photography can be geometrical or abstract. Abstract shapes communicate with the viewer on various levels. A simple silhouette, like a bird flying over the sky, can be identified as just that – because it’s a shape everyone is familiar with. You can create abstract shapes by using elements of photography such as blur, distance, shadow or scale. Try to hit the viewer on a more subconscious level and don’t let them recognize the shape immediately. A little bit of mystery can often create a greater visual impact.

Highlight your shape photography with these techniques

There are a number of techniques you can use in shape definition that will make your photographs really stand out. The first step is cropping. Decide which information you are willing to present to the viewer. You can either crop the entire composition or obstruct the subject with another element. The ratio between what you decide to reveal and what you decide to hide will ultimately determine the level of intrigue in a photo. This technique is closely connected to the law of closure.

Bring emphasis on a subject by playing around with elements of photography such as lighting and focus. Focus on a subject and bring importance to it, or blur it out and create a level of abstraction. The level of blur you use is up to you. In addition, intelligent use of depth of field can often bring visually stunning results.  Combine this technique with some creative lighting and bring it up a notch. Exaggerate the form by using a strong sidelight. 

Determine where your positive and negative space is

Positive and negative shapes

If you are new to shape definition, you have probably been focusing primarily on positive shapes. Positive shapes are created by physical objects, while the ‘empty’ space between them creates negative shapes. You can read up on positive and negative space in detail right here (link). Learn how to read your photographs in a two-dimensional way and it will help you understand the 3-D world much better.

Generally speaking, shapes convey a lot of visual information to the viewer. Symmetrical shapes like circles and squares create a sense of stability and ease. Irregular shapes like triangles and ovals are more dynamic, hence they give the illusion of motion. Whether it’s one or a group of objects, together they should make a harmonic form. Choose to group similar shapes to avoid creating chaos in an image. 

Find abstract shapes in conventional objects

Before you take this practice into the field, try studying your work first. Define the positive and negative shapes, examine your lighting and focus and choose your favorite photos. Ask yourself, what is it that makes them good? When you learn to apply a critical eye to your existing work, naturally, your current work will improve.

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The line between the subject and the background is clearly visible

Think shapes and contrast

A photograph is a two-dimensional representation of a three-dimensional space. The surface of a photograph is made up of various shapes, which are in some kind of relationship to each other. To better understand figure to ground relationships, try thinking in shapes. Your subject is the main shape that needs to stand out in relation to other shapes. The best way to do that is to enhance the contrast between the subject and the background.

You can easily make the distinction between the subject and the background with black and white photographs

Blur it out

It is easier to recognize the line between figure and ground in high contrasting and black and white images. With color photography, the line isn’t always clear and there are other elements that divert attention. If you are unsure of what constitutes a strong figure to ground, try blurring out your photograph. You can to that by looking at it from a distance – that way your eyes will disregard the details and focus on the colored surfaces. If there is a clear distinction between the surface of the subject and the background, you’re on the right track!

There is another method to this concept which is simply putting your photograph through Photoshop and applying the blur filter.

Light and dark

There are a number of different contrast that can be applied in photography, which we’ve covered in our color theory series. But the most basic contrast that works together with the figure to the ground concept is the contrast between light and dark. Your subject and your background should be in this relationship – one should be light and one should be dark. That way the contrast between them is greater which constitutes a good figure to the ground relationship.

The clear light and dark contrast makes a good figure to ground relationship

All of the above are only tools and not definitive rules. There is more to photography than just following composition principles and theories. You should never forget about your own creativity. A good photograph is usually made up of more than just one simple principle – it is a compound of many different elements that reside in harmony.

By learning and practicing you will be able to employ more than one rule in an image

Think about everything you’ve learned thus far – from color theory to composition rules – all this information is somehow implanted in your subconscious. You don’t have to think about them all the time, on the contrary, it is better not to think about them so they don’t overwhelm you, which will make you miss opportunities. So if there is one rule I would always keep in mind, it’s to keep your eyes open and your camera ready. You will realize that you’ve t a photograph that has an impeccable figure to ground relationship and you weren’t even thinking about it!

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A smaller f-stop means a shallow depth of field

The aperture as a regulator of depth of field

By changing the aperture we are not only changing the amount of light that enters the camera, but we are also influencing the sharpness of a photograph. A low f-stop, like f/2.8 means that the aperture is more open than with a larger f-stop, like f/11. Coincidentally, a low f-stop will allow more light to enter the camera. By controlling the aperture, a photographer can utilize the depth of field to emphasize certain parts of an image. The larger the f-stop number – the larger the depth of field.

Dog

The photograph above was taken with an aperture value of f/2.8. You can see that only the eyes of the dog are sharp and the other parts of the image have gone blurry. Using low f-stops can be very useful when you want to really emphasize one particular subject. Knowing what parts of the image you should keep sharp and what parts you want out of focus is a great tool you can use to your advantage if you want to produce outstanding images.

On the other hand, when you are taking pictures of landscapes, like the photograph above, preferably you would keep most of the image sharp. That can be accomplished with a higher f-stop number. This particular image was taken with an aperture value of f/11, which is enough for the depth of field to span from the railroad tracks in front, to the statue that can be seen in the distance.

Focal length

Another parameter that defines the depth of field in a photograph is the focal length of the lens you are using. Longer lenses produce much more blur than wide angle lenses. In other words, the same aperture value combined with a lens with a larger focal length means a bigger opening. A 100mm lens with an f/2 has a bigger aperture opening than a lens with 50mm focal length, also with an f/2.

A focal length of 200mm produces much more blur than a smaller focal length would

Distance

Depth of field is not defined only by the aperture value and focal length, but also by the distance between the camera and the subject. Here, there is a simple rule: the shorter the distance between the lens and the focused subject, the more out of focus the rest of the photograph will be. The larger the distance between the camera and the subject is, the bigger the depth of field.

The closer your camera is to the subject, the shallower the depth of field will be

As you can see by now, there are a number of parameters that influence the depth of field in photography. Once you’ve got them down, you will see that they are not as intimidating as they sound at first. Trial and error is the best learning tool, so don’t be discouraged if you don’t immediately master them – try again!

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A frame within a frame

The most literal use of framing within a photo is including an actual frame. They can easily be found in architecture, like in the form of windows, doors and passages. Taking a picture ‘through’ something will add a sense of depth and lead the viewers gaze towards the focal point of the image.

The photograph above is a classic example of a frame within a frame. The doorway had a small amount of lighting and was quite dark in general. But there was this beautiful cityscape opening up with a bunch of tiny lights, which I could have just photographed as is. Instead I decided to include both the doorway and the cityscape, which makes for a much more interesting image.

This is another example of a frame within a frame. If you have been following our series on composition in photography, you will be able to recognize some other elements too. There is a transition from dark to light and some leading lines that all work together to lead the gaze towards the brightly colored windows.

Closing off the frame

Almost any kind of shape or opening can be used to frame your subject. Framing closes a part of a photograph off and the eyes are naturally drawn to the open part of the image. Look for openings in your surroundings and place your subject in them.

The image above was taken through a roll of colored paper. I noticed the cat kept pushing its head into it, so I quickly grabbed my camera and took the shot. You can see there is a lot of negative space left, which additionally puts all the attention on the cat.

Creative framing

Now that you’ve got the basics of framing down, you can start being a bit more creative in your framing. Don’t get stuck on just searching for different openings and passages. Look for other elements that could almost imitate a kind of frame.

In this case, the dress of the dancer is the frame. It almost took the shape of an ellipse and rounded her face and torso. Combined with this intense blue color, it pulled the attention to her facial expression really well.

Here is another example of creative framing. The Louvre palace and the glass pyramid are overlapping, but the geometric lines of the pyramid work as an unusual kind of frame. There isn’t a classical frame around the palace, but still the shapes and their positioning pull the gaze straight in.

Practice and learn how to use different types of framing so later on you can begin combining various techniques in a single photograph. You see there are no definitive rules in photography, but you can take some bits and pieces from every lesson and you photography will surely improve.

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Make the tonal contrast the focal point of an image

Contrast

Direct lighting that produces strong, sharp shadows emphasizes the contrast between them. Attention will be pulled to the parts of the image where there are large contrasts in tones and it will add drama to a photograph. These kinds of contrasts cannot be achieved by using only light, you have to incorporate shadows. Backlights typically work well when you are trying to shoot silhouettes and the tonal contrast is stronger.

A backlight works well if you are capturing silhouettes

Time of day

Depending on which time of day you are shooting in or which season, the shadows will be cast differently. It has to do with the angle of the sun and how it cast light on the earth. Midday sun is strongest, which results in sharp shadows and high tonal contrasts. Early morning light and sunset light fall at a sharper angle, so the shadows are not as strong, but they can reveal the beauty and texture of the surroundings.

Sunrays fall at different angles during different daytimes

Positioning

No matter what or where you are shooting, positioning has a lot to do with understanding photography lighting. Always be aware of where your light source is relative to your subject and where you and your camera are relative to them. Move around as much as you can for different effects.

The transition between light and shadow can be subtle

Natural and artificial lighting

Natural light is of course the most common and should be used whenever possible. All artificial studio lighting is trying to do is basically imitate natural light. But found lighting, like street lights or lights in a club, can produce effects that natural lighting cannot. Combining natural and artificial lighting in one image can be really fun and often leads to the most striking results.

Artificial lighting produces effects that natural lighting can’t

Whatever type of lighting you are using – remember to pay attention to the shadows too. Compose your photograph in a way that the play and contrast between light and shadow becomes the focal point of the image. You can do that with direct shadows that make beautiful patterns or you can focus on the more subtle transition between different tones.

Be aware of how shadow and light direct your composition

You shouldn’t shy away from shadows. The importance of shadows in photography is that they can be used in a way that enhances the light source and the subject. Layering shadow and light brings a sense of depth to an image, which cannot be achieved if everything in a photograph is equally lighted. Train yourself by photographing in different lighting conditions and soon you will be able to position the factors that produce a great photograph.

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Leading lines can be found everywhere – roads, buildings, rivers, shadows

Leading lines draw attention into the photograph. They can lead towards a subject, which is a great way to illustrate what the focal point of the image is; or they can lead the gaze through the photograph, into the distance. Usually, these lines begin at the bottom of the photograph, and continue to narrow towards the middle, guiding the gaze up and in. When the lines finally meet in the middle, they create a sense of depth and three-dimensionality, making the image more dynamic and intriguing for the viewer.

Lines can lead the gaze towards the subject

Finding leading lines

Finding and more importantly, recognizing leading lines should not be that hard. They’re everywhere! From roads, bridges, rivers and buildings, to shadows, patterns, fields and sun rays – the more important part is how you use them by framing your photo. Diagonal lines are by far the most dynamic. They appear to be unstable, which adds drama to a photograph.

Never cut the convergence point out of the frame

Angles

A sense of depth perception is created when using leading lines in a correct angle. One of the key tricks that you should remember is that if it is not working, try a different angle. Lowering yourself and your camera to the ground while shooting a road, for example, will transform the general feel of the image. The lines of the road will fall at a sharper angle as they would if you were taking a picture from your own height, resulting in a more dynamic perspective. Then try looking straight up and notice how the edges of buildings draw lines and fall into a perspective.

The feeling of distance causes the illusion of depth

Sense of depth

Combining lines with different angles will illustrate a feeling of distance and space, which causes the sense of depth. It engages the viewer by pulling in the gaze, almost creating a window into another world. Lines are your tool that you should learn to use to your advantage if you wish to achieve an illusion of depth. There is no other visual element that works in such a way. Never cut the convergence point out of the frame. This is your focal point to which the lines are leading to.

Change up your angles

Don’t forget to be diverse in your choices. Leading lines can be straight or curved, painting many different angles and subjects. Once you’ve started looking for them, you will see that they can really be found anywhere. No other visual tool will help you create such a sense of depth in your photography. Change up your angles and your vantage point, look for colors that will enhance your leading lines and be bold – you never know what is right around the corner.

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Frame your subject in such a way that it occupies a large amount of space in a photograph

Visual interest

One of the most common mistakes any new photographer makes is not getting close enough. When you start photographing, you may be feeling shy or uncertain. You don’t want to get in people’s faces, or you don’t want to crop your photo too much. You would rather have more space around the subject, because you can always crop it later, right? That may be true to some extent, but if you never learn how to crop as you are shooting, you can never learn and improve your images.

Include more details by moving in closer

Creating a center of visual interest can be achieved easily just by your moving in closer. If you use a zoom lens, go for it, otherwise – move your feet! Even when you think you’ve gotten close enough, take a step further. The most compelling images are created out of your comfort zone!

Don’t be afraid to cut out parts of your subject

Detail

By filling the frame with your subject, you give it full attention. You eliminate any details that might steal the spotlight, so there’s no doubt about what the focal point of the image is. Plus, the bigger the subject is the more details of said subject will be included. This composition rule can be used for shooting any subject; from people, animals and flowers, to architecture and landscape. Just make sure that your center of visual interest takes up enough space that it almost spills out of the frame. Don’t be afraid to cut parts of the subject out.

Eliminate details that might steal the spotlight off your subject

Background

Backgrounds are often cluttered with information that is not relevant to the subject and only divert attention. While you are filling your frame, keep your aperture number low, that way the background will stay blurred and only your subject will be in focus. Otherwise, shoot your subject on a plain background that will really enhance it.

If you’re not filling the frame completely, really think about what is surrounding your subject

Filling the frame in photography will probably not work for every single shot. But it can be used in cases when you have one specific subject that you want to stand out. Using this composition technique with intention will give your photography more diversity and dynamic. If you’re not filling the frame completely, really think about what is surrounding your subject and if it delivers the same emotion. But do not be shy if you are going to try out this composition rule – be bold and go for it!

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If the negative space is in such a vibrant color, don’t be afraid to keep it blank

Positive space

Positive space is simply the part of your photograph that is the subjects or the area of interest. That is the part you want highlighted, so the viewers eye is drawn to it quickly.

Don’t feel the need to include a lot of things in your photo

Negative space

The negative space in a photograph is all the space that surrounds your subject. Normally we tend not to think about the negative space so much, because we are so focused on the subject that it is not really a priority. It’s completely normal and it happens to all of us, it’s hard to pay your full attention to so many things at once. The trick is to use the negative space to your advantage. Having a substantial amount of negative space in a photograph will make the subject stand out in a particular way. The viewer will not have any distractions that pull away the attention from what the focus of the image is. Plus, the eyes will have the opportunity to rest a bit, which makes the whole of the photograph kind of serene and almost meditative.

Negative space will give the viewer a chance to rest their eyes

Ratio

Think about it in terms of ratio. Normally, the subject takes up the majority of the space in an image. Now try looking at the positive and negative space as surfaces. It’s better to be generous with the amount of empty space you leave around a subject, because you can always crop it later. The amount of negative space should somehow remain balanced with the positive space. You don’t have to include a bunch of things in one photo. Sometimes it is better to keep the composition clean and simple, but remember that it has to feel right to you.

If you are not sure, always leave a surplus of empty space around a subject

Shapes and sizes

As soon as you start thinking in terms of positive and negative space, shapes and sizes of things will start to grab your attention more. You will start paying more attention to details. The negative space in a photograph can be totally blank, especially if it is in a very vibrant color, like the blue sky. Maybe there is an interesting texture to the background, which will make your photograph more visually intriguing. Either way, be careful that the negative space doesn’t overpower the positive space.

Be careful that the negative space doesn’t overpower the positive space

As you can see by now, terms like positive and negative space are nothing to be nervous about. They are simple tools for photographic composition that can make a big impact not just on your photography, but on the way you observe the world around you.

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The shape of an object will become more important than the object itself

In photography, minimalism is still very much present, although it received critiques on lacking subject matter and a point of view. But there is a certain kind of openness in minimalism that actually gives an artist freedom to not be weighted by preconceived concepts and ideas. It welcomes all interpretation, without giving any clear cut answers.

A photograph does not have to be cluttered with details to be effective

Simplicity

Minimalism in photography is all about simplicity. Clear your shot of any unnecessary information or action. Minimalistic images are static in the sense that there is not a lot going on. So it is up to you to find a charm in the simplicity that will make the image visually interesting. Use strong colors and shapes to make a statement. A photograph does not have to be cluttered with details to be effective.

Play with cropping of your photographs for various effects

Get closer

While you are training your eye to recognize more simplistic shapes, one thing you can do is to get closer to whatever you are photographing. Frame your image in such a way that only a part of an object is included. That way the shape of said object will become more important than the object itself. You can also do this in post-processing. Sometimes cropping a photograph in a specific way will make a great difference.

Think about how the placement of lines and textures affects your composition

Composition

Because there is not a bunch of elements in a photograph, you have to pay more attention to the composition. How you arrange objects and shapes in an image is crucial. In the previous article we talked about positive and negative space in photography. That is a tool you can easily use to help you create compelling minimalist photographs.

Large blocks of color are commonly used in minimalist photography

Color

Color plays an important role in minimalist photography, because the form is so simple. Understanding and using color is a subject we largely covered in our series of articles on Color theory. Check them out to learn more about which combinations of colors should be used for a more effective image.

Lines and textures

Lines and textures can be used to grab attention even without a clear subject matter. Think about how the placement of lines affects the general composition. Combine horizontal, vertical and diagonal lines in one shot by zooming in on the boundaries of versatile textures. This play within the shot will be the point of attraction for the viewer.

Geometric shapes are often found in urban architecture

Keep noticing the world around you and you will see that any scene can be translated into a minimalistic photograph just by making a few tweaks in your perception and camera placement. Look for brightly colored surfaces and textures, individual objects with clean lines and geometric shapes. They can be found in nature, but they will probably be more common in urban architecture, so that is a good place to start!

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Look at how the left composition appears static and steady, while the right one is more dynamic and interesting

When arranging objects in a photograph, one of the first things you have to decide is what number of objects will be included in the shot. Having an odd number of objects in your photo is a simple way of making it more dynamic. It’s pretty simple actually. When you have an even number of objects in an image, like two, four or six, the brain tends to pair them up, hence separating the image into pieces and making it harder for the gaze to flow freely. But when you have an odd number of objects in a photograph, there’s always something left over, and the middle thing comes more into focus. In photography we call that the rule of odds.

If the number of the subject is odd, the brain will be less inclined on pairing them up into groups

The rule of odds particularly works with smaller numbers of objects, like three or five. Having more than five objects in an image will usually make the brain perceive them as a group; for that reason, it makes it harder to focus on one particular object and the gaze scatters in a way.

Three objects in one image create a triangular composition

Think about it like this: symmetry is pleasing and calming, but it also has a tendency to become boring. Having an odd number of objects creates more dynamic and flow. We like to break the rules, not everything has to be organized all the time, being playful makes life more fun and interesting.

The eye is immediately drawn to the central object, while the rest work as support

The number three seems to be the magic spot that works the best in the rule of odds. Three objects in one image will create a triangular composition, and the eye will always be drawn to the middle one, while the other two work as support.

Pay attention to how the gaze travels through the composition

Similarly, with five objects usually there is a particular focus on one central figure, while others work kind of like back up dancers. Nevertheless, they all work together as a whole complete composition.

More than five objects per image is often translated to the brain as a group, and different composition rules apply

It doesn’t matter what the thing you are photographing is. It can be people, trees, flowers, oranges; the same rule of odds applies. Remember, the number of objects in a photograph is not the only thing that matters, and definitely not the only thing that will make your image interesting. But it is certainly a good starting point which can be developed into more complex shapes and forms as you develop your photographic practice. If you want to further advance your knowledge on how to use composition and color, check out our take on color theory.

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Using rhythm to draw attention to certain elements

In visual arts, rhythm is a motion of elements that repeat themselves; or interchange, or build up. These elements can be in different relationships between each other, they can be the all same, similar or completely diverse. Rhythm is bound by space, i.e. the surface of the photo. It expresses itself in the composition by straight or curved lines and their directional course; in repetition or enhancements of colors, light, shade, bodies and spaces. The differences in the movement of the elements give the visual structure a certain visual appeal.

Rhythm can be found almost everywhere

In painting, rhythm is present in the composition of figures, characters, light and color. In sculpture it occurs by repetition and escalation of positive and negative volumes, changes of course and size. In architecture, rhythm is expressed by repeating and enhancing of architectural elements: columns, windows and spaces. So rhythm in the arts is present in many different forms. A simple rhythm is more clear and direct, while a complex rhythm consists of more elements, which is why it is more visually comprehensive. A simple rhythm occurs when the same elements are precisely repeated. That kind of rhythm has the characteristics of a beat, similar to what music sounds like.

A simple rhythm has a calming effect on the viewer

Intervals are visible and tangible parts, which are defined by distinctive characteristics of visual elements. In visual arts, intervals determine the distance and difference between volumes, lines, paths, lights and colors. In nature and in art, there are three basic types of relationships: the relationship between the same units, similar units and contrasting units.

Simple repetition of forms is something you can find in everyday life. Wherever you live, may it be in the city or in the countryside, patterns and repeating objects should not be that difficult to recognize if you only pay attention.

Repeating the same element multiple times can become boring

While a simple rhythm may be easy to find, it can also become boring quite quickly. Simple repetitions are often peaceful to look at, but introducing an element that breaks up that rhythm gives more dynamic to the photo and draws more attention to different parts of the image.  

Use rhythm with alternate elements to create a more visually appealing image

Because photography is essentially a two-dimensional representation of a three-dimensional space, using repetitive elements in a surface causes the occurrence or patterns. Repetition can be as simple or as complex as you’d like. When the elements of repetition are the same, the flow of the rhythm will correspond by remaining calm and steady. Introducing alternate elements will break up the flow, giving it a more dynamic structure.

Contrasting units create a more complex rhythm

Rhythm can actually be found in any composition to some degree. It does not have to be literally translated into patterns for it to keep the viewers attention. Most of the time, intentionally breaking the rhythm will give you an advantage as a photographer; because it will be clear you put time and thought into composing your image.

Becoming a great photographer means having knowledge about all the rules, but is also means you shouldn’t become a slave to them. By practicing and training your eye, soon you will find anything and everything can be translated into some kind of a rhythm. Ultimately it is your choices that make the image work or not.

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Color wheel by Johannes Itten

Complementary colors

The contrast between complementary colors is a contrast of difference. These are the colors that are the most saturated and have the biggest distance between them in the color wheel. Because there is such a big contrast between these colors, using them together in an image can make a certain part of it really stand out.

Pay attention to how blue and yellow vibrate against each other, although they are not complementary colors

Blue and yellow are not complementary colors, but they are far enough on the color wheel to be able to vibrate against each other. When we use two highly saturated colors in one image, the relationship between the two becomes an interesting visual dance. Keep in mind that pairing two colors together that create such strong visual vibrancy can be overwhelming for the viewer. Having equal amounts of two complementary colors in a photograph creates stress, which is why photographers usually chose to only accent a part of an image.

By accenting only a part of an image with a complementary color, we can relive some stress for the viewer

Analogous colors

The contrast between colors reduces as we replace primary colors with secondary colors and even further when we move on to tertiary colors. Harmony between colors means a result that is more visually pleasing then other color combinations. When we are in nature there is a great possibility that the colors that surround us are largely the same. Forests, deserts or the seaside are mostly environments made up of analogous colors, which are closer to each other on the color wheel. They naturally work together, making them easy to look at.

Green and yellow stand side by side on the color wheel

Next time you go pick up your camera, try not to only pay attention to the subject, but also on the colors surrounding it. Color can add emotion to a scene, especially when you start gaining control over it. Think about the time of day you are shooting in, as the lighting changes depending on the position of the sun. That way the color cast can be used to your advantage.

Harmonies

Color theorists have tried forever to develop a system which would allow an objective determination of a color harmony and in a way that scientifically explain its rules. Through science they figured out that a color harmony is made up of a combination of colors, which induce a psychophysical balance of perception. That state is supposedly caused by a neutral gray color. In short, a color harmony is based on a combination of colors that if mixed together, make a neutral color – that includes all complementary pairs of colors.

Harmonic combinations of colors are divided into dyads, triads, tetrads and hexodes.

Harmonic dyads are all complementary pairs of colors, which we’ve described earlier.

Harmonic triads are combinations of colors that are connected by an equilateral triangle in the color wheel. The strongest of these combinations is the triad of three primaries: yellow, red and blue. By turning this triangle we are able to create many harmonic triads.

A triad of three primaries: yellow – red – blue

Harmonic tetrads are created by combining two pairs of complementary colors. That way the colors in the color wheel are connected by a square or a rectangle which we can keep turning and observe many types of tetrads.

Harmonic hexodes occur when we inscribe a hexagon in the color wheel. That’s how we get a harmonic combination of three pairs of complementary colors, for example: yellow – orange – red – purple – blue – green. Turn the hexagon to find more interesting hexodes.

Search for harmonic tetrads in your environment: blue – green – orange – red

Plan out when you are going to take pictures and choose the most colorful times of day or night. Warmer colors are more intense then cooler colors – that is why they seem to pop out of an image. That is why you might want to have more blue in an image with only a highlight of orange, because it is much more intense. Admittedly, all of these are only guidelines, not rules. The best way of learning these principles is by trying and training them practically.  

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Candle light

Warm and cool

Having knowledge about how lighting affects the appearance of a photograph will have a great impact on the final result. There are many types of colors of light that are correlated to the time of day you are shooting in, or the type of artificial lighting you are using. The color of a light source is measured on the Kelvin scale. Low color temperature light sources are called ‘warm’ and higher color temperature light sources are called ‘cool’. This refers to the psychological affect lighting has on the brain. Blue and violet colors are perceived as ‘cool’, while red, orange and yellow colors are ‘warm’. Different light sources will make object appear of a different color.

Early morning

Kelvin

A Kelvin (K) is a unit of measurement for temperature. Color temperature is used to describe the overall color tone of the light source. The lower the K the more red the color appears. From 1000K-1900K, we are in the range of red color, which occurs with light sources like candles and fire. As we travel upwards through the Kelvin scale, we go through yellow light and white light to blue light. Incandescent lights are around 2500K-3000K. Cooler light sources used in offices are about 3500K-4100K. Daylight values are usually between 5000K-6500K, while direct sunlight is about 4800K.

Mid-day

Kelvin temperature chart

White balance

Color temperature in digital photography is connected to white balance. Most digital cameras now have presets that allow you to pick the conditions you are shooting in (daylight, cloudy, tungsten) and match them to the white balance. However if you keep in mind the general idea that high K values are cool (blue, white) and low K values are warm (red, orange), you can than manually set the desired color temperature on your camera.

To have even more control over your white balance, employ a gray card. You can use a piece of paper or cardboard that is colored with middle gray. Place it where your subject might be and point your camera towards it. That way you make the job easier for your camera, making it understand the lighting conditions, since gray is a neutral tone.

Sunset

Using color temperature can help you keep your photographs looking natural, as digital cameras are not as good at adapting to different lighting conditions as the human eye is. By telling your camera the correct temperature for the scene, it will be able to correct the white balance and color of the shot. This way you will avoid any undesirable color cast that may occur. Kelvin temperatures for specific lights are estimates and do not match every single sight source, but you still have the option to do color correction in post-processing, just remember to shoot in RAW, because with JPEG images there is only a limited level of adjustment you can do.

Street lighting

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Dimensions of colors

In the history of color theory many researchers have made efforts to sort colors in such a way that would enable their notation and defining characteristics. Every color has three dimensions: hue, lightness and saturation. This is called the HSL method which is used in Photoshop and it is supposed to be the closest to what the human eye can see.

Hue

Clean colors in their full strength are indicated by their hue, which changes as we move around the color circle. Hue is the characteristic by which colors differ from each other: yellow from orange, green from yellow, blue from green etc. Colors that are opposite in the color wheel are complementary colors.

Lightness

Color lightness or brightness is the second dimension of color. Two colors can be of the same shade but different color lightness. According to their lightness, we are able to recognize dark blue from light blue, dark red from light red etc. Colors from the color spectrum have their natural grade of lightness when they are the most saturated. Intensive yellow for example is the brightest, while purple is the darkest color in the color circle.

The grade of brightness in a color can be changed by adding a lighter or darker color to it. Theoretically, when adding white to a bright saturated yellow, the only thing that changes is the brightness. But practically, brightness cannot be isolated; yellow mixed with white will become brighter but also less saturated. By adding white or black to a color, it can also change its shade. Adding black to red will make it seem cooler, adding black to yellow will make it greenish.

By increasing the brightness in a photo, the main color becomes less saturated.

The effect of color brightness also depends on the lightness of the surface, i.e. on the background on which the surface is located. Every color can seem lighter next to a darker color or darker next to a lighter color.

Saturation

The third dimension of color is saturation. Two colors can be the same brightness and shade but different in the grade of saturation. We can reduce the saturation of a color by adding white, black, gray or a complementary color. The same as with brightness, a color can look more or less saturated depending on which color surrounds it.

Red and green are complementary colors. By increasing green tones in the background, the reds in the ladybug seem more saturated, although we did not change them.

Understanding the photography color wheel and how dimensions of colors communicate with each other will increase your abilities to describe and justify your decisions in the picture making process. Having knowledge about why adding yellow reduces blue and vice versa may seem redundant, but in time by training your eye it becomes second nature.  

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