色彩理论与时尚摄影外文翻译资料

Color Theory And Fashion Photography

Color Theory

Every since the year 1666, when Sir Isaac Newton first defined colors in terms of individual wavelengths of light, numerous methods have been devised to categorize and classify the subtleties of the spectrum. Unfortunately, because color perception is such a subjective matter, many different words---value, shade, tint, chrome, brightness, lightness, saturation, brilliance, depth---are used differently to describe three very fundamental attributes of color: what its name is, how pure it is, and how light or dark it is.

Many excellent books on the broader and more complex aspects of color theory are available, and we suggest that you add them to your reference library if you plan to do a lot of dying. What follows here is a very general explanation of subjective color theory specifically as it relates to dying fabrics.

What is its name?

When you ask the question,“What color is it ？”you are asking what the hue is. In its strictest sense, hue is synonymous with the word color. When the three primary hues---red, yellow, blue---are combined, the result is black (or close to it）. The combination of any two primary hues produces secondary colors, or hues:

·Red plus blue produces the hue violet.

·Blue plus yellow produces the hue green.

·Yellow plus red produces the hue orange.

There six hues---red, blue, and orange(the secondary hues)---are often grouped together under the collective category, “cardinal hues.”

Tertiary hues are the result of a marriage between a secondary hue---green, for example---and another primary---blue, for example. Blue---green, yellow---orange, blue---violet, and so forth are considered tertiary hues.

When purchasing dyes, you will find that manufacturers often have their own names for colors: one brandrsquo;s “lemon yellow” is another brandrsquo;s “bright yellow.” However, industry standards require that all colors of a given value must be numbered using a standardized color index system. This ensures that regardless of brand, all dyes with a particular color index number will be essentially the same.

B.How Dark is it?

The attribute known as value describes how light or dark a color/hue is relative to black (on the dark slide) and white (on the light side). Gray, for example, is a light value of black. Pink is a lighter value of red. Value is sometimes referred to in dye recipes as “depth of shade”.

To make a colorrsquo;s value lighter, you uses less dye relative to the amount of water called for in the recipe. This creates a tinted, or pastel hue. In general, each time you want to lighten the value by a step, halve the amount of dye required a fully saturated color.

Because dye powders and solutions vary in strength, the amount needed to achieve the maximum depth of shade varies form color to color. For example, to achieve hues of similar visual saturation (hues that look the same depth to the naked eye), you need almost twice as much yellow dye as you do red.

There is a point at which adding more power or solution to the water will not enhance its value any further. In fact, too much dye may cause the color to look “off”---for example, some yellows may turn orange---and the excess will simply wash out during your rinse cycle.

C.How Pure is it?

In color theory, the term saturation refers to the clarity of a color; not its darkness. When you describe a color by using adjective such as “drab”, “dull”，“bright”，or“clear”,you are talking about the colorrsquo;s saturation. It is easiest to think about saturation in terms of two colors of the same value. Pink, for examples, has a light value. However, two pinks of the same value---say, a clear carnation pink and a light dusty rose---have different levels if saturation.

If you mix additional colors of hues with a saturated color, the color begins to lose its brilliance and is said to be shaded. The addition of a small amount of black will impart a grayish shade to the color; the addition of a bit brown will give any true color or an earthy shade. Either of these two colors can be used to create that “dusty pink” described above.

The addition of a colorrsquo;s complement---the color directly opposite it on the color wheel---will also change the shade, or saturation, of a color. As you vary the amount of complementary color mixed with a true color, you will get an increasingly complex range of neutral shades.

“Fashion photography is an extension of my work as an artist.”---Erica Lennard

What I find intriguing about doing fashion photographs is the idea that I am photographing a per son. Often a beautiful woman (even if the point now has become more and more reduced to the element of selling the clothes, perfume, etc), and that I am still trying to make a photograph with the same aesthetic concerns that I bring to my work.

The models I photograph are human beings with doubles about their beauty and who they are. In most fashion magazines, woman look synthetic, unreal and unattainable. I try to work with girls who seems to have something beyond the perfect face and it is perhaps the rapport I have with them when I am shooting that helps to bring out that personal quality I look for. I am often very quiet, which surprise everyone since the classic idea of a shooting has always been loud music and

Lots of “Oh, you look gorgeous,” etc .,but I figure that they know they look good and only try to direct their movements and make them relax enough to be natural. Still they sometimes ask “Do I look okay?” and that feeling of vulnerability is what I look for.

I like the hair and make up to be a simple or unartificial as possible. There is always a term of people I feel best working with. I get ideas on how to pose models from looking at painting, films and real life. Itrsquo;s difficult when you work with girls who have spent their time studying the pages of

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Color Theory And Fashion Photography

Color Theory

Every since the year 1666, when Sir Isaac Newton first defined colors in terms of individual wavelengths of light, numerous methods have been devised to categorize and classify the subtleties of the spectrum. Unfortunately, because color perception is such a subjective matter, many different words---value, shade, tint, chrome, brightness, lightness, saturation, brilliance, depth---are used differently to describe three very fundamental attributes of color: what its name is, how pure it is, and how light or dark it is.

Many excellent books on the broader and more complex aspects of color theory are available, and we suggest that you add them to your reference library if you plan to do a lot of dying. What follows here is a very general explanation of subjective color theory specifically as it relates to dying fabrics.

What is its name?

When you ask the question,“What color is it ？”you are asking what the hue is. In its strictest sense, hue is synonymous with the word color. When the three primary hues---red, yellow, blue---are combined, the result is black (or close to it）. The combination of any two primary hues produces secondary colors, or hues:

·Red plus blue produces the hue violet.

·Blue plus yellow produces the hue green.

·Yellow plus red produces the hue orange.

There six hues---red, blue, and orange(the secondary hues)---are often grouped together under the collective category, “cardinal hues.”

Tertiary hues are the result of a marriage between a secondary hue---green, for example---and another primary---blue, for example. Blue---green, yellow---orange, blue---violet, and so forth are considered tertiary hues.

When purchasing dyes, you will find that manufacturers often have their own names for colors: one brandrsquo;s “lemon yellow” is another brandrsquo;s “bright yellow.” However, industry standards require that all colors of a given value must be numbered using a standardized color index system. This ensures that regardless of brand, all dyes with a particular color index number will be essentially the same.

B.How Dark is it?

The attribute known as value describes how light or dark a color/hue is relative to black (on the dark slide) and white (on the light side). Gray, for example, is a light value of black. Pink is a lighter value of red. Value is sometimes referred to in dye recipes as “depth of shade”.

To make a colorrsquo;s value lighter, you uses less dye relative to the amount of water called for in the recipe. This creates a tinted, or pastel hue. In general, each time you want to lighten the value by a step, halve the amount of dye required a fully saturated color.

Because dye powders and solutions vary in strength, the amount needed to achieve the maximum depth of shade varies form color to color. For example, to achieve hues of similar visual saturation (hues that look the same depth to the naked eye), you need almost twice as much yellow dye as you do red.

There is a point at which adding more power or solution to the water will not enhance its value any further. In fact, too much dye may cause the color to look “off”---for example, some yellows may turn orange---and the excess will simply wash out during your rinse cycle.

C.How Pure is it?

In color theory, the term saturation refers to the clarity of a color; not its darkness. When you describe a color by using adjective such as “drab”, “dull”，“bright”，or“clear”,you are talking about the colorrsquo;s saturation. It is easiest to think about saturation in terms of two colors of the same value. Pink, for examples, has a light value. However, two pinks of the same value---say, a clear carnation pink and a light dusty rose---have different levels if saturation.

If you mix additional colors of hues with a saturated color, the color begins to lose its brilliance and is said to be shaded. The addition of a small amount of black will impart a grayish shade to the color; the addition of a bit brown will give any true color or an earthy shade. Either of these two colors can be used to create that “dusty pink” described above.

The addition of a colorrsquo;s complement---the color directly opposite it on the color wheel---will also change the shade, or saturation, of a color. As you vary the amount of complementary color mixed with a true color, you will get an increasingly complex range of neutral shades.

“Fashion photography is an extension of my work as an artist.”---Erica Lennard

What I find intriguing about doing fashion photographs is the idea that I am photographing a per son. Often a beautiful woman (even if the point now has become more and more reduced to the element of selling the clothes, perfume, etc), and that I am still trying to make a photograph with the same aesthetic concerns that I bring to my work.

The models I photograph are human beings with doubles about their beauty and who they are. In most fashion magazines, woman look synthetic, unreal and unattainable. I try to work with girls who seems to have something beyond the perfect face and it is perhaps the rapport I have with them when I am shooting that helps to bring out that personal quality I look for. I am often very quiet, which surprise everyone since the classic idea of a shooting has always been loud music and

Lots of “Oh, you look gorgeous,” etc .,but I figure that they know they look good and only try to direct their movements and make them relax enough to be natural. Still they sometimes ask “Do I look okay?” and that feeling of vulnerability is what I look for.

I like the hair and make up to be a simple or unartificial as possible. There is always a term of people I feel best working with. I get ideas on how to pose models from looking at painting, films and real life. Itrsquo;s difficult when you work with girls who have spent their time studying the pages of

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