Colour Circle
Strawberries
55mm, 1/4sec, f/9, ISO-400
55mm, 1/4sec, f/10, ISO-400 (average)
55mm, 1/4sec, f/11, ISO-400
Yellow Rose
55mm, 1/15sec, f/9, ISO-400
55mm, 1/15sec, f/10, ISO-400 (average)
55mm, 1/15sec, f/11, ISO-400
The Sky
300mm, 1/400sec, f/8, ISO-200
300mm, 1/400sec, f/10, ISO-200 (average)
300mm, 1/400sec, f/14, ISO-200
I have found that my averages are the closest match to the colours on the colour circle apart from Blue. The Sky is a very bright blue and is slightly too bright for this project. I have photographed an unnaturally coloured blue t-shirt at the average exposure and have found this subject matches the colour circle a lot better.
55mm, 1/10sec, f/10, ISO-400
Secondary Colours
Secondary colours are a mixture of two primaries. Orange (Red and Yellow), Violet (Red and Blue) and Green (Blue and Yellow). When looking at the colour circle we can see that the secondary colours lie between the primaries that make them.
I shall take three photographs of each secondary colour the same as I did for primary. An aperture of f/10 shall still be the average.
An Orange
55mm, 1/8sec, f/9, ISO-400
55mm, 1/8sec, f/10, ISO-400 (average)
55mm, 1/8sec, f/11, ISO-400
Violet Blanket
28mm, 1/20sec, f/9, ISO-400
28mm, 1/20sec, f/10, ISO-400 (average)
28mm, 1/20sec, f/11, ISO-400
An Apple
55mm, 1/8sec, f/9, ISO-400
55mm, 1/8sec, f/10, ISO-400 (average)
55mm, 1/8sec, f/11, ISO-400
Within this project I have found that my over-exposed photograph of Orange, under-exposed photograph of Violet and average photograph of Green most closely match the shades on the colour circle. I struggled to find any subjects that are naturally Violet and big enough to fill the frame so therefore I had to settle for an unnaturally coloured blanket. When searching for my Orange and Green subjects I came to the conclusion that an Orange and an Apple most closely matched the colours of the colour circle.
Black, White and Grey as Colours
This project shows how black and white can become shades of grey by under or over exposing a shot. This technique can be used to lighten or darken a photograph. If black and white are not correctly exposed within an photograph it's overall result will not be an accurate capture of a scene or subject.
Black Painted Ceiling
51mm, 1/2sec, f/10, ISO-400 (average)
51mm, 1/2sec, f/9, ISO-400
51mm, 1/2sec, f/8, ISO-400
51mm, 1/2sec, f/7.1, ISO-400
51mm, 1/2sec, f/6.3, ISO-400
51mm, 1/2sec, f/5.6, ISO-400
White Painted Ceiling
51mm, 1/25sec, f/10, ISO-400 (average)
51mm, 1/25sec, f/11, ISO-400
51mm, 1/25sec, f/13, ISO-400
51mm, 1/25sec, f/14, ISO-400
51mm, 1/25sec, f/16, ISO-400
51mm, 1/25sec, f/18, ISO-400
With an aperture wider than f/9 the "Black" photographs begin to become noticeably grey. Also with the "White" photographs, after the second image I would no longer describe the scene as white; with an aperture smaller than f/11 the "White" photographs look grey and the last photograph, at f/18, even appears Black.
When looking closely at the Black photographs a slight blue hue can be seen and when looking at the White they almost appear slightly yellow. After checking the values of my Black and White images in Photoshop I ave discovered that my average captures are not true Black and White. Black should have a value of no more than 2 whereas White should be no less than 253. My average Black shows a lowest value of 25 and White shows the highest of 150. I shall have to retry this project and choose a subject with a smoother surface. I don't believe that my camera's meter was acquiring an accurate enough reading.
A photograph of true Black can only be achieved if no light what so ever reaches the camera's sensor. The complete opposite applies for true White; this can be achieved by aiming the lens at a white surface in bright sunlight and setting the camera's shutter to remain open for more than a minute with the widest aperture possible.
Black Painted Ceiling
51mm, 1/2sec, f/10, ISO-400 (average)
51mm, 1/2sec, f/9, ISO-400
51mm, 1/2sec, f/8, ISO-400
51mm, 1/2sec, f/7.1, ISO-400
51mm, 1/2sec, f/6.3, ISO-400
51mm, 1/2sec, f/5.6, ISO-400
White Painted Ceiling
51mm, 1/25sec, f/10, ISO-400 (average)
51mm, 1/25sec, f/11, ISO-400
51mm, 1/25sec, f/13, ISO-400
51mm, 1/25sec, f/14, ISO-400
51mm, 1/25sec, f/16, ISO-400
51mm, 1/25sec, f/18, ISO-400
With an aperture wider than f/9 the "Black" photographs begin to become noticeably grey. Also with the "White" photographs, after the second image I would no longer describe the scene as white; with an aperture smaller than f/11 the "White" photographs look grey and the last photograph, at f/18, even appears Black.
When looking closely at the Black photographs a slight blue hue can be seen and when looking at the White they almost appear slightly yellow. After checking the values of my Black and White images in Photoshop I ave discovered that my average captures are not true Black and White. Black should have a value of no more than 2 whereas White should be no less than 253. My average Black shows a lowest value of 25 and White shows the highest of 150. I shall have to retry this project and choose a subject with a smoother surface. I don't believe that my camera's meter was acquiring an accurate enough reading.
A photograph of true Black can only be achieved if no light what so ever reaches the camera's sensor. The complete opposite applies for true White; this can be achieved by aiming the lens at a white surface in bright sunlight and setting the camera's shutter to remain open for more than a minute with the widest aperture possible.
