Elements of Design: Color
Did everybody hear have art in school here he did you have it a little bit? So we all learned this little pie chart thing right? Complementary colors reds and greens, yellows and violets, blues and oranges notice how in between they work as well they also work on a past ellie level, so if there's more white introduced to the same colors of the complementary colors if it's a lighter pink it's going to be a lighter green right and they all kind of worked together so red and green there's my bird with complimentary color shot we talked about that fish I kind of stuffed into the frame didn't have any remote pocket wizards or anything at that time got a two hundred foot extension cord for my cable release, so I'm sitting in a truck he's so vivid that you can see him fly into the scene so he'd flying and seeing I just ramp off a bunch of shots okay did it I did it with fish eye let's take the six hundred and stuff it in the training and watch when he comes in and out pre focus on what I focu...
s on I focused on the birds because he's coming in to feed the birds I know that's going to happen I see him fly in a ramp off, you know a thousand images and finally get one where his eyes and perfect sharpness notice the colors red and green perfect perfect complementary colors each other green environment rider wearing a red jacket I almost always in scenarios ride with a red jacket knowing that I will put it on my athlete if the this should present itself the beauty is some of my athletes already know that I think that way and they wear the red we're going to green we're wearing red today what else? What colors you want me to work today? They always ask that so it's kind of fun you know just on the side of the road this red flower stookey stood out to me because it was in this green environment so obama going take the shot film days need a very, very shallow happen sure to make it work but then I really pushed my focal point onto that flower right in iceland I mean you have run he's got a red shirt on him like you need to run through the frame I really want to put him out liquor in this so how do I create something when I'm someplace to further proposition going back? Well, I don't have any mountain bikers with me during this trip but I got somebody who can kind of run so it's he's wearing red let's throw him in there running now I've got a graphical element aiken ceo and editor well, here is here is a person now imagine that was a mountain biker would not be a crazy scene imagine the stories that we could tell about that that's how you start approaching this stuff and notice all the trails back here if you would go to an editor and say, hey, wouldn't it be great to have a mountain backer in that spot? Is that kind of planting the seed of fame? Hey, why don't you give me and my team? And cindy? Well, I would do a whole proposal and I would have a serious of images that kind of correspond to that same idea or whatever my idea was from mountain biking in iceland and yeah, I would have the person in the frame to illustrate kind of that human element ok, imagine a mountain biker here, this is why I want to do this story. This is how I'm going to approach this story this is you know how we're going to do it and that's what I do, if I don't have it available to me, then I do it. There are times when I'll I'm in a place where I have a mountain laker and I put them out like her in there and then pitched the story afterwards, you know, it's just goes both ways, but yeah, I would it would be a full proposal like probably a five page document about why we should go to mount but why should we goto iceland mountain biking and why it would benefit the magazine etcetera I'm good question when you're looking at say, the photo you've got displayed there how do you make a decision whether you're going to use a wide angle or a fish eye that's kind of an experience thing but the way I kind of figured it out to get the experiences I tried it so I would go fish eye and I'm like now that doesn't work I would go sixteen thirty five that doesn't work I'd go twenty four one of five oh there's the shop so it's just trial and error and you know adventure sports don't lend themselves to trial and error aa lot unless you can get your athlete to do the thing fifteen times and I do that now but I miss you and I may shoot it like with sixteen thirty five and I may shoot it with a twenty four o one o five and emaciated seventy two two hundred all for the same location and shop because I like the way it looks in each different progression so he's still try it now but I'm like oh this is twenty four one in five shot I just put that on the kind of thing and the proposal thing it's you know it's it's very thought out it's not just well here's the one shot I see that trail and I'm like I need a mountain like around this how do I illustrate that to somebody who I want to pitch an idea of going there amount like I just wanted to finish the thought so reading greens right way all know this here for me it's about that element at the end of the diagonal this is the scenario where I put the red sweatshirt on him misty environment he's pretty dark how do we get him to pop in a green world complimentary color red, blue and orange remember past eli's I said they kind of work together so there's very pastel orange very past still blue here it's hard edged very powerful or injury powerful blue kind of in between to write my own sunrise you know I don't know that I will ever sell the shot just because it's been taken so many times but for me it's a moment right love the area uh four minute exposure on the big sur coast think that sunrise you think you get a four minute exposure of sunrise at that time no answers and its moon rise so had a full moon rising you can't really shoot stars when you have a full moon rising because you can't see them because everything so bright so I use that to my advantage I used the four minute exposure with the move this is the day before the hero shop sunsetting clouds are starting a break I think tomorrow is going to be good so we shot it then too you know you're there the night before well I'm going to still take photos no matter what cottonwood reflections there's the cotton would leave that's the reality of the color but because it's reflected that exposure in our and with our sensors is darker so it becomes more of a blue and orange shot even though those trees or yellow and we have seen the shot right so perfect warm light that kind of complimentary blue and orange thing going on there this shot works on a lot of levels and I talked about it a lot in this in this presentation because it has a lot of different elements that we kind of learn about over the course of the two days so sunset I'm up in I'm upon independence pass just out of aspen and it is blustery cold first snowfall and there's some leaves left so I use it and this showed up when I polarize this guy I actually went to process the image and I just I realized that I could because it didn't look better when I processed it so I just left it kind of raw and that's pretty much right out of camera what I've got just the polarizer had such a dramatic effect because I'm at the perfect ninety degrees etcetera here you know here's our orange and blue context billows and purples sitting on the ferry coming over from port angeles to seattle finally found purple and yellow in reality it's really hard to find purple and yellow out there they're not colors that just kind of come together so it's pretty sight muted purples and yellows totally set up well the mountain biking part isn't but the purple so this is a private trail by my house and this scotch broom I think it's called the scotch broom blooms at you know in march every year and I'm like, ok, you need a purple helmet and a purple backpack heather sold now just right through the frame right so purple and yellow becomes more it becomes more about purple in jail without the subject, right? How do we do this? Anybody can do it's pretty cool commercial jetliner over the ocean put a polarizer on your lens and shoot through the acrylic glass and for whatever reason, even the boeing guys couldn't tell me why this happens, but you turn your polarizer and all the colors go crazy like that. So any time you're flying over the ocean give the world but it's just it's kind of a cool color palette, you know it shows you the whole spectrum my wife hates the shot, so don't use a wide angle lens when you're by my butt so again purple and yellow I'm running behind her I want to show motion I'm trying to get the logo here of the shorts company that sponsors her tax sharp. Try it, you know, fifteen different times and finally get one adjusting my shutter speed. How can I do that now? Digital right, shoot a siri's, look back, go back, ride the thing you know she rides the thing again. I run behind her again and again and again, we keep doing it until I get it the way it needs to work. But I wanted to blur the backgrounds and just focus right on that logo and bees and iris in, uh, says california and my daughter so she's drawing with chalk, pick up the yellow one, pick up the yellow one. I don't want the yellow one, dad, I want the orange one right now. No, I need the yellow goes back and forth back fine finally draws a stripe with the yellow one like, ok, there's, there is the color I'm looking for