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Saturated color

Photography  Sandwiching  Saturation

Saturated colors
Contrasting colors
Contrasting lines
Saturated Colors: Color is probably the strongest reason that people are attracted to flowers. The more saturated the color, the more dynamic the flowers appear to us and the more we are drawn to the flowers.

Saturated color - pure color hue, undiluted by other colors, white or gray, i.e. the primary colors, red, yellow and blue are saturated colors.
Scale - linear relation between the size of the subject and the size of its image.
Scanning electron microscope - device used in photomicrography.

Rich, saturated colors, no Photoshopping necessary
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When it comes to food, music, and architecture, I must confess I’m no connoisseur. I can say with equal amounts of enthusiasm and ignorance that I know what I like.

A highly saturated color is one comprised from a very narrow wavelength range.
Combining or contaminating the color with other wavelengths from the light spectrum makes it less saturated.
Scratch Disk: ...

Because of the saturated colors rendered by the then-new Fuji Velvia slide film, I'm not sorry that I had my Nikon out in the mid-afternoon in the Bernese Oberland (Switzerland).
Nikon 8008, 20/2.8 AF lens, Fujichrome Velvia
Joshua Tree Shadow, Joshua Tree National Park ...

This allows less enlargements resulting in sharper, less grain, and more ~s. With interchangeable film magazines you can shoot different types of film at the same time which is much easier than carrying a second camera body. With Polaroid backs you can ...

Rather than constantly trying to change the brush saturation though, it's a lot easier to pick a ~ and adjust the opacity of the brush instead. You can pick any color you want. I've used green here, but all colors will produce identical results so long as they have the same saturation.

Bright, ~s suggest a vigorous and energetic atmosphere, and dark and muted colors suggest a more somber and introspective response from the viewer.
Experiment with Filters: If you want to make the most of color in your images, play with filters.

Do you prefer more or less ~? More or less contrast? And so on.
How is the shadow and highlight detail? Can the camera preserve detail in shadow areas and highlight areas while still producing nice dark shadows and bright white highlights?

In slide film, Fujichrome Velvia is often chosen for it's highly ~s and high sharpness. It's nominally an ISO 50 speed film, but some people prefer to shoot it at ISO 40. There are no hard rules here and the speed you shoot it at depends on your taste and yout metering system.

Sensia II and its sister film Provia are popular 100 ISO emulsions, providing highly ~s like Velvia, but with another f-stop's speed and slightly lower contrast.

Slightly overcast days can offer lighting that produces nice ~s without loosing too much shadow and highlight detail. Try to avoid gray overcast skies in landscape and scenic shots. Most landscape compositions will look better with some blue sky areas showing through the clouds.

Video out of the Olympus TG-810 is quite usable, with ~s and decent sound quality. But a problem we faced with the TG-810 was its tendency to refocus every few seconds while recording, regardless of whether the scene was really changing much at all.

It also creates more ~s. It reduces glare, such as light reflections you get from water, glass, and other non-metallic surfaces. These filters are often used to give lackluster skies a darker and more dramatic hue.

Saturation rendering intent tries to preserve ~s, and is most useful when trying to retain color purity in computer graphics when converting into a larger color space.

Saturation is the intensity of color. A ~ is vivid, while a de~ is more muted-closer to gray.
A vignette is a visual effect showing loss of clarity (blurring or darkening) toward the outer edges of an image, giving it an old-fashioned appearance.

When the gamut of source color space exceeds that of the destination, ~s are liable to become clipped (inaccurately represented), or more formally burned. The color management module can deal with this problem in several ways.

Colors can shift creating inaccurate or un~ in your images.
Always have enough film, it's better to carry around a little extra film than to run out of film when you really need it.
Always store your film is a cool environment.

a polarizing filter for attaining more ~s
a sturdy tripod for low-light conditions and compensating for the polarizing filter
a wide angle lens to photograph the entire arc
a telephoto lens to zoom into small parts of the rainbow ...

Diffuse light (from overcast skies) is terrific for flowers as it evens out the light and produces rich ~. I opened my lens fully to ƒ2.8 and bumped up my ISO to 200 to get a 1/40th second shutter (right at the edge of being safely handheld).

For this style of photography, we want to see ~s in the sky. This means using an artificial light source to overpower the rising sun. You will definitely want to use an off-camera light source.

SATURATION - The degree of hue in color as perceived subjectively. ~ can be termed strong, vivid, intense or deep. De~ can be termed weak, pale, washed out or dull.
SCALE is often revealed only when an object of known size is introduced in a photograph.

An attribute of perceived color, or the percentage of hue in a color. ~s are called vivid, strong, or deep. Desaturated colors are called dull, weak, or washed out. The vividness or purity of a colour; the less gray a colour contains, the more saturated it is.

This value describes how pale the color is. A completely un~ is a shade of gray. As the saturation increases, the color becomes a pastel shade. A completely ~ is pure. Saturation values go from 0 to 100, from white to the purest color.
XCF ...

Vibrance boosts the saturation of your lower-~s. That means that it won't over saturate colors that are already bright. Another great feature of vibrance is that it won't turn your skin tones orange like the Saturation slider will.
Saturation ...

-Color weight - visual characteristic of fully ~s. Some of these colors appear darker than others. A color's visual weight may have a different appearance to the eye to its appearance on film.
-Coma - lens aberration producing asymmetrical distortion of points in the image.

Highly ~s may cause images to appear unrealistic.
Scene Modes
Digital camera exposure preset modes that are optimized for specific types of images, such as sports photography, night shots, close-ups, portraits, or landscapes.

When choosing complementary colors, fully ~s will offer the highest level of contrast. Choosing from tints or shades within the hue family reduces the overall contrast of the composition.
Continue tutorial, view: Itten's Contrasts ...

Although the preview of the Tone Compressor has more ~s, I find it harder to control shadows and highlights, keep noise in check and most importantly get a result that does not look artificial.

'The ~s, solid masses of dark buildings, the light trails, and ghosts of hurrying people suggested communal energy and personal estrangement, two forces that alternately brightened and darkened my life at the time.' ...

An attribute of perceived color, or the percentage of hue in a color. ~s are called vivid, strong, or deep. Desaturated colors are called dull, weak, or washed out.
Scale. ...

The photograph was made in bright sunlight, a condition that emphasizes texture and also does justice to ~s.

The soft light on a rainy day can emphasize every detail and the ~s of the scene. I often see photographs from students, taken in beautiful places, which were made in ordinary light. Once a strong composition has been found, the light must make it sing.

Because it paints smooth surfaces like leaves and pavement with a glossy sheen, it lends landscapes and city street scenes a bright, pearly glow and creates deep, ~s. Use a polarizing filter to further saturate colors by removing surface reflections.

Think of it like the digital equivalent of film: some films were notorious for rich, ~s (Fuji Velvia) and were favored by landscape photographers who wanted the color in their photos to have lots of punch.

Bright, sunny days are good when you want to zap your images with day-glow brilliance; overcast days produce subtle, more ~ combinations. Exposure, too, affects colors.

People see my work and wonder how I get such ~s. Here's how.

Just like choosing the perfect film to match your creative direction, the X-E1 can simulate the color and tonal qualities of acclaimed film brands including the true-to-scene natural look of PROVIA, the vibrant tonality and ~s of Velvia and the silky soft look and beautiful skin tones ...

Saturation tries to produce vivid colors by mapping fully ~s from the source to the destination without regard for accuracy. It is not usually a good choice for photographic images but works well for business graphics or illustrations.

Figure 5: Here's what happens to the same pure colors when they're simply desaturated using the Hue/Saturation dialog in Photoshop. Because Hue/Saturation works in the HSL color model rather than in Lab color, the very ~s in our gradient are all rendered as middle gray.

This photo has everything: a stunning subject well placed, excellent landscape and foreground objects of interest, deeply ~s; it's just a feast for the eye in every regard.

For this subject we do a lot of experimenting. We try a variety of white balance settings, but finally settle on daylight. Experimentation also shows that we needed to underexpose the image from the recommended setting to get fully ~s in the neon.

Keep all exposures between 1 and 8 seconds. Weaker filters will give softer, more natural colours and may give coloured line or text. Stronger filters will give more ~s. Kodak Vericolor film 5072 is available in 35 mm. x 10Oft lengths.

However, in spite of your best framing, your camera produces images that leave much to be desired, because when you review them on the bigger "viewfinder" of your computer monitor, your photos appear rather washed-out without the appealing rainbow of ~s.

This is also known as contrast. With hard lighting, the photo produced is a high-contrast image because you can really see the difference in tones. The result is images with more drama, more vibrant or ~s and more eye-catching appeal.

A polarizer is the one filter every photographer should have handy for landscapes and general outdoor shooting. By reducing glare and unwanted reflections, polarized shots have richer, more ~s, especially in the sky.

A measure of how accurately the color signals are reproduced. Poor chroma signal-to-noise ratios are evidenced in color fringing on edges of objects and what appears to be thousands of moving dots in large areas of highly ~s (especially red).

Photographs with deep levels of color are described as being heavily saturated. A photograph with lighter levels of saturation is described as having a muted color palate. A totally de-~ photograph becomes monotone - or black and white.

Color that has a low saturation level appears washed-out or pastel-like, because it has a lot of white light mixed in the color. Completely unsaturated is grey, while very ~ is intense and contains little or no white light.

A polarization filter was also attached in front of the lens. It serves to increase the color values and reduce reflection. The shadows turn out less blue and the photographer is rewarded with more highly ~ values. Any desaturation of the color tones is largely eliminated.

Weak, directionless sunlight provides vibrant, well-~s. Frontlighting The old adage about keeping the sun at your back is a good place to continue our discussion of outdoor lighting. The type of lighting created when the sun is in back of the photographer is called frontlighting.

See also: See also: What is the meaning of Color, Photograph, Camera, Image, Photography?

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