Researching the language of color has taught me how to craft more colorful and creative photos and increased my fascinating for the world in which we live. Here’s how an understanding of color will lead to better photos and a deeper connection with the world around you.

The language of color in photography includes concepts such as analogous color, color contrast and color temperature as well as terms like hue, saturation and luminosity. Rods and cones in our eyes allow us to perceive light and color and craft more colourful and creative photos.

However, our ability to see color is reduced in dimly lit conditions.

To better understand how best to employ color in your own photography it’s going to be worthwhile explaining in plain, simple language some of the fundamental principals of color and how the human eye and brain perceives color.

It’s going to be fun and I’m sure it will help you make even better color photos into the future.

Analogous Color in Photography

Analogous colors exist, in groups of three, alongside each other on the color wheel.

Reflecting similar wave lengths of light they are easy on the eye and produce harmonious results when placed together in a composition.

Examples of analogous color combinations include the following:

• Violet, Violet/Blue and Blue

• Blue, Blue/Green (i.e., Cyan) and Green

• Green, Yellow/Green and Yellow

• Yellow, Yellow/Orange and Orange

• Orange, Orange/Red and Red

A photo that’s composed around analogous colors, such as this photo of a penguin on top of a snow covered hillside on Cuverville Island in Antarctica, is pleasing to the eye because of the harmonious relationship between similar colors in the image.

Can you see how the cool, bluish hues of the dark tone sky are sympathetic to the cyan colored snow. That’s exactly the kind of harmonious relationship I’m talking about.

This image also shows that the closer the colors are to each other on the color wheel, the less color contrast will be produced.

The result is a visually subdued and emotionally calm, quieter image.

Nonetheless, a quite sumptuous, monochromatic image can be produced when the colors in question are relatively high in saturation.

As well as the overall cool color balance, this picture relies on the scale between our brave little penguin and the metaphor of struggle and hardship suggested by the bleak landscape that surroundings it.

I think it’s a beautiful image, but in a brooding, melancholic way. It’s exactly the kind of beauty you can expect to experience should you embark on a Photography Adventure To Antarctica.

Color Contrast in Photography

Color contrast is dependent upon the relationship of colors that are adjacent to each other on the color wheel.

High levels of color contrast occur when a primary and its complimentary color, which sit directly opposite each other on the color wheel, appear in the same photo.

This provides the impression of greater visual separation and, as a consequence, a more dynamic image results.

Take a look at this rather abstract image of a candelabra inside a crypt at the magnificent La Recoleta Cemetery in Buenos Aires, Argentina.

While I didn’t enter the crypt I was able to make the photo by aiming my camera’s lens through the bars of an open window.

This enabled me to record the beautiful purple light shinning onto the candelabra through an adjacent stained glass window to the side of the crypt.

By using an extremely shallow depth of field I was able to place the foreground complete out of focus and, as a result, draw the eye to the beautiful purple lit candelabra.

You might be surprised to learn that high levels of color contrast can exist even when the brightness of the two colors is similar.

Therefore, in color photography, contrast does not depend solely upon the relative light reflectance of one color compared to another.

This is not the case in black and white photography where subject brightness, and how that relates to the brightness of other areas in the frame, determines contrast.

In color photography, color contrast has to be considered in addition to relative subject brightness when composing your image.

This involves constructing a composition with the following considerations in mind.

• The difference in the amount of light reflected from one color compared to another.

• The relationship between individual colors in the composition and their position, relevant to each other, on the color wheel.

When it comes to color contrast it’s good to remember the following:

• Analogous colors produce lower color contrast and result in a more tranquil looking image.

• The combination of primary and complimentary colors produce higher degrees of color contrast.

• Warm colors appear to advance while color colors recede.

• Incorporating both warm and cool colors in an image will emphasize both colors and will often increase the impression of three dimensional space within the image.

Color Hue, Saturation and Luminance

I consider Hue, Saturation and Luminance, commonly referred to as HSL, to be the Blessed Trinity in color photography.

Here’s some simple definitions to help explain these three distinct elements of color.

Hue defines the color of the color. It’s not just red, it’s Tuscan Red or, perhaps, Cardinal Red.

Saturation describes the purity of a color. A highly saturated color will appear particular rich or vivid in color.

Conversely, a subject or scene with relatively low levels of saturation could be described as pastel.

Luminance describes the brightness of a color. For example, a light blue sky or a dark green dress.

When composing a color photograph it’s important to be able to visually separate important subject elements within the frame.

Paying attention to individual colors, through careful composition at the time of making your photos will help. Likewise, adjusting white balance in camera can significantly impact on the way colors render in a photo.

But it’s through post processing when your ability to influence color reproduction and, with it, the emotional impact of your images can be influenced the most. And HSL is one way to do just that.

Human Vision and Perception

We see light as a result of it being projected onto a pattern of light sensitive cells, referred to as rods and cones, on the retina in each of our eyes.

Let’s explore the differences between rods and cones in our eyes as a way of understanding how they impact human vision and the way we perceive the world around us.

You see our perception has a huge influence on what, why and how we make photos.

Rods In Our Eyes Help Us Navigate Our World

Rods are responsible for sharp vision.

Rods have the advantage of being sensitive to relatively low levels of light and contrast. This helps us see and navigate our way safely under dimly lit conditions.

However, we see very little color when it’s dark.

What we perceive as a yellow flower at night is, therefore, based upon the following:

• Recognizing the shape of, for example, a daffodil or sunflower

• Recognizing the scent of the flower

• The fact that we’ve seen that flower previously under brighter lit conditions

Ultimately, it’s our memory of the color of a particular flower that enables us to perceive it as, for example, yellow when viewing it under very dimly lit conditions.

Our Limited Night Vision

I passed through the above tunnel twice during my hike across the top of the magnificent Huangshan, also known as Yellow Mountain, in Anhui Province, China.

The first time was during the middle of the day, when this photo was made. The second time was just as night was falling and I was making my way back along the trail on the journey back to my hotel.

Things were fine on either side of the cave. However, no sooner had I entered the cave, than I was plunged into complete darkness.

I very gingerly made my way down the icy stairs and, when I got to the landing which marks a turn about three quarter way down the staircase, I became very disorientated and had to grope around to find my way through.

After a minute or two of difficulty I was able to perceive a glimmer of light off to the side. I followed it down the staircase and emerged back into the moonlight.

It’s at times like this when I wish my night vision was better than it is. 

Cones In Our Eyes And Color

Cones enable us to see color, but require brighter light to function compared to the rods in our eyes. 

Light consists of many colors that reach us in waves. We perceive the light waves, which are absorbed or reflected by an object, as color.

The human eye has three types of color receptor cones that are sensitive to red, green or blue wavelengths.

I’m reminded of that fact when looking at this photo from the Forbidden City in Beijing, China. The vivid red walls, orange tiled roofs and deep blue sky made for a dramatic color photograph.

There are also fine decorative elements underneath the roofs that feature green and turquoise designs.

It’s probably one of the most highly saturated images I’ve ever produced.

The Visible Spectrum, defined within the range of 400-700 nanometers, encompasses the colors red, green and blue which photographers work with on computers within RGB color spaces.

I’ve written a comprehensive post on the three types of RGB color spaces used by photographers. It’s titled Language Of Color - Color Spaces and I think it’s a really interesting read.

Strictly speaking 100% blue (expressed in Photoshop as red 000, green 000 and blue 255) is such a deep form of blue that it is almost violet.

Beyond the color violet is what’s referred to as ultra violet or UV light, which falls beyond the visible spectrum.

We can’t really see UV light, but we can see some of its effect at, for example, a nightclub or when looking at distant mountain ranges at higher altitude.

Next time you’re up in the mountains make a point of looking at mountains receding into the distance.

The further back into the scene you look the lighter and bluer objects will appear. You can expect to see otherwise green, leafy trees appearing bluer and lighter the further away those mountains appear.

Similarly, beyond the color red is infrared which is a form of photography used for scientific purposes and to produce visually interesting landscape photos.

Back in the days of film-based analogue photography I worked at Kodak (Australasia) Pty Ltd. Back then Kodak made two types of infrared films. What was referred to as (False) Color Infrared film and Black and White Infrared film.

The black and white version was particularly popular with enthusiast level landscape photographers because, on sunny days, grass and foliage would render as very light shades of grey, in prints produced from that film.

This phenomenon was emphasized when an 87C filter was place in front of the camera’s lens.

Under those conditions green leaves and grass took on an appearance akin to snow, which was really quite magical.

The Emotive Qualities Of Color

Color can have a significant effect on mood and how we feel about what we see. With this in mind it's usually important to make color the most dominant element of composition in your photos.

One way to do that is to compose your images around color in such a way where the color or colors depicted become the actual composition.

Taking an abstract approach can be helpful in this regard. Move in close and play with interesting angles and viewpoints in a way that places extra emphasis on the colors depicted.

Abstraction can lead to fascinating results. I've created a special article on the topic which I’m sure you’ll find informative and inspirational. It’s titled Abstraction Photography - The Guide.

Another helpful tip is to allow yourself to be drawn to subjects that display interesting color.

Compose your image in a way where the color of the background is either sympathetic (i.e., analogous) or in contrast (i.e., complimentary) to the color of your subject.

You could also seek to marry interesting subject matter with interesting light in such a way that enhances the story being told or the theme you wish to explore.

A great tip is to adjust your camera's white balance to draw attention to the color of the light and the mood it evokes.

Color temperature is a big deal for photographers and changing the white balance in your camera can make a huge difference to the way your camera records color.

If you’re a little unsure about how those white balance settings work please check out my comprehensive post titled White Balance Explained.

Have no doubt that color, whether inherent to the subject or present in the light under which you're photographing, has a direct impact on the communicative power of your photos.

Color Photography And Inclement Weather

Color can be vibrant and energizing on a sunny day. It’s when most people make most of their photos. But are you happy with the photos you make under those conditions?

While it's possible to make great photos on a bright, sunny day. But it's not always as easy as you might think, particularly when photographing portraits outdoors.

I've written a post titled Beautify Sunny Day Pictures that includes lots of helpful tips to ensure you'll be able to make really creative photos on a bright, sunny day.

Polarizing filters are a useful tool when making photos on a bright, sunny day. Popular in landscape, nature and architectural photography a polarizing filter can be employed to achieve the following:

• Reduce reflections

• Increase color saturation

• Deepen the color of an already blue sky

I’m sure we’re all aware of the opportunities for really beautiful photos during the golden hour, those times immediately following sunrise and prior to sunset when the world is bathed in warm, romantic colors.

But did you know that inclement weather also provides great opportunities for the enthusiastic photographer.

I believe that the best thing about light is it's transient, transforming and transcendental nature. When the light's great it really doesn't matter where you are. The world around you simply glows.

There's no reason why your best photographs wouldn't be made in your own neck of the woods, even during your regular neighborhood walks.

While it’s important to be careful, I don't think we should be afraid of inclement weather.

Take this photo I created while hiking across Huangshan (Yellow Mountain) during the middle of winter in China. The hike was tough, given all those steps I had to climb up and down, and the weather was bleak for most of the trip.

But what an adventure those three days provided. They’re amongst the best of my life, thus far. I was dressed for the weather and as long as I stayed on the well constructed paths I was safe.

Any short term discomfort associated with making my way up and down the thousands of steep stone steps and along the stone pathways was paid back, in spades, by fantastic photography opportunities.

I made some great photos on that trip, and I really felt like I earned them. To be able to make great landscape photos you have to be there and sometimes the conditions are going to be tough.

But it’s all part of the experience. Something that an armchair traveler may never know.

The fact is light and, sometimes, color are often most dramatic either side of a storm. You just have to be there, ready and waiting, to make the most of it.

Because I'm so excited by the opportunities poor weather offers photographers I created a substantial guide titled Rainy Day Pics and Inclement Weather.

It’s one of my favorite posts and features color photos from the following places:

• Faroe Islands

• Austria (where they have no Kangaroos)

• Australia

• Iceland

I love it and I'm sure you'll find it to be a very helpful resource on your own creative photography journey.

While the color of the light can be amazing on a stormy day, I’m certainly not recommending that you stand on rocks while waves crash over you during a lightning storm.

We all need to take care when making photos and we need to dress appropriately for the conditions we’re likely to experience when doing so.

But making photos under inclement weather can be an exhilarating experience, even if you’re sitting in your car while doing so.

You just have to decide if doing what you can to look after yourself and your camera gear is worth the risk of making some, potentially, fantastic photos.

There’s always a level of risk involved and, as someone who believes strongly in the notion of personal responsibility, I believe we each have to take responsibility for the decisions we make.

What I can say, from my own experience, is that I’II never look at a dark, rainy sky in quite the same way again.

My rainy day photography adventures have also given me a new appreciation for the color blue.

Conclusion: the Importance Of Color In Photography

Like so much else in photography an understanding of color can lead to a deeper and more interesting exploration of the subject or scene in question.

Knowledge is important and it’s also good to be able to talk the talk when it comes to negotiating the visual language of photography.

Personally I don’t see a need to go much beyond the level at which I’ve discussed color in this and other articles on this site.

While it’s great to know how things work, photography is a creative endeavor and I have the most fun when responding, intuitively, to how I feel about what I see in the world around me.

When it comes to your photography the idea is to bring a sense of harmony and cohesion from the world into the boundaries of the photographic frame.

We can discuss why photos work or not, after the fact. But it’s much more fun being in the moment during the making of those photos.

Fundamentally, that’s what it’s all about.

Nonetheless, if you want to be a better color photographer it’s helpful to broaden your knowledge about color, how we perceive it and how to use it to create beautiful, life affirming photos.

I encourage you to be more deliberate about the way you use color in your photos and to experiment with composition and, where appropriate, post processing to create better results.

Depending upon the needs of the image work to balance your right and left brain to create beautiful color photos that document the world and allow you to explore your own, unique visual response to how you feel about what you see.

Exploring this relationship between reality and perception could be what sets your photos apart from the rest of the bunch.

I hope this post will help you in your journey to become a better color photographer.

Glenn Guy, Travel Photography Guru