In the earliest hours of the day the world is essentially black and white. The light has a cool, shadowless quality. Colors are muted. They grow in intensity slowly, gradually differentiating themselves. But right up too the moment of sunrise they remain pearly and flat.
Early morning
The instant the sun comes up, the light changes dramatically. Because of the great amount of atmosphere that the low-lying sun must penetrate, the light that gets throught is much warmer in color than it will be later in the day. Shadows, by contrast, look blue, because of their lack of gold sunlight and also because of the blue they reflect from the sky.
The instant the sun comes up, the light changes dramatically. Because of the great amount of atmosphere that the low-lying sun must penetrate, the light that gets throught is much warmer in color than it will be later in the day. Shadows, by contrast, look blue, because of their lack of gold sunlight and also because of the blue they reflect from the sky.
image from : google image
Source: Early moring
Midday
The higher the sun climbs in the sky, the greater the contrast between colors will be. At noon, particulary in the summer, this contrast is at isk peak. Since there is no color in the white light coming from noonday sun, there will be no distortion of the relationships between colored objects. Each stands out strongly in its own true hue. Shadows at noon are black.
The higher the sun climbs in the sky, the greater the contrast between colors will be. At noon, particulary in the summer, this contrast is at isk peak. Since there is no color in the white light coming from noonday sun, there will be no distortion of the relationships between colored objects. Each stands out strongly in its own true hue. Shadows at noon are black.
image from google image
Source: Midday
Late afternoon
As the sun goes down, the light will begin to warmm up again. This occurs so gradually that the photographer must train himself to detect it; This otherwise the steady increase of red in the low light will d things to his film that he does not expect. Luckily, these usually turn out to be beautiful things. If the evening is a clear one and the sun remains visible right down to the horizoon, objects will begin to take on an unearthly glow. Shadows lengthen and become blue. Surfaces become strongly textured and interesting.
As the sun goes down, the light will begin to warmm up again. This occurs so gradually that the photographer must train himself to detect it; This otherwise the steady increase of red in the low light will d things to his film that he does not expect. Luckily, these usually turn out to be beautiful things. If the evening is a clear one and the sun remains visible right down to the horizoon, objects will begin to take on an unearthly glow. Shadows lengthen and become blue. Surfaces become strongly textured and interesting.
image from google image
Source: Late afternoon
Evening
After sunset there is a good deal of light left in the sky, more often that not reflected in sunset colors coming frm the clouds. This light can be used. with longer and longer exposures, almost up to the point of darkness, and it sometimes prodeuces pinkish, or even greenish violet effects that are delicate and lovely beyond imagining. Just as before sunrise, there are noo shadows and the contrast between colors lessens. Finally, just before night, with the tinted glow gone from the sky, all colors disappear, the worlds once again becomes a pattern of black and gray.
After sunset there is a good deal of light left in the sky, more often that not reflected in sunset colors coming frm the clouds. This light can be used. with longer and longer exposures, almost up to the point of darkness, and it sometimes prodeuces pinkish, or even greenish violet effects that are delicate and lovely beyond imagining. Just as before sunrise, there are noo shadows and the contrast between colors lessens. Finally, just before night, with the tinted glow gone from the sky, all colors disappear, the worlds once again becomes a pattern of black and gray.
image from google image
Source: Evening
Weather
There is no such thing as bad weather for color pictures, for anything that obscures sunlight alters colors in useful ways. Fog gives pearly, muted tones, much like those recorded before sunrise. Stormy weather adds drama and richness to the deeper hues. And rain can dim some colors and enrich others, while creating shining surfaces with startling reflections. Rain and fog also bring problems. One is a diminution in light intensity, requiring long exposures. Long exposures change the behavior of the color elements in the film. Green my not respond as fast as red, for example, giving a reddish cast and black where greens belong. This is one result of what is known as reciprocity failure, and it can be corrected somewhat by filters. Or it can be ignored if the imbalance is unimportant, or desirable.
There is no such thing as bad weather for color pictures, for anything that obscures sunlight alters colors in useful ways. Fog gives pearly, muted tones, much like those recorded before sunrise. Stormy weather adds drama and richness to the deeper hues. And rain can dim some colors and enrich others, while creating shining surfaces with startling reflections. Rain and fog also bring problems. One is a diminution in light intensity, requiring long exposures. Long exposures change the behavior of the color elements in the film. Green my not respond as fast as red, for example, giving a reddish cast and black where greens belong. This is one result of what is known as reciprocity failure, and it can be corrected somewhat by filters. Or it can be ignored if the imbalance is unimportant, or desirable.
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