Photo Communications, Spring 2012 Columbia College Chicago

1. 22-3530 - 01 PHOTO COMMUNICATIONS
color

5. The first permanent color photograph was
taking in 1861 by physicist James Clerk
Maxwell who used what is known as the
'color separation' method, shooting three
separate black and white photos using
three filters: red, green, and blue. He then
projected the three images registered with
their corresponding filters overlapping them
to create a color image. The photo below is
the famous tartan ribbon photo, the first
permanent color photograph.

6. View of Agen, France, showing the St. Caprais cathedral, by Louis Ducos du Hauron,
1877. Heliochrome(multilayer dichromated pigmented gelatin process).

8. Louis Ducos du Hauron, Still life with rooster
1869-1879 (ca), Color print, dye imbibition process

9. Stuffed Birds, 1895 (ca)
Joly Color, George Eastman House

11. The Smithsonian National Museum of American History recently discovered these images, the first
3-D, color stereoscopic photographs of San Francisco after the 1906 earthquake. Photographer
Frederick Eugene Ives took the color images, known as kromograms, six months after the
magnitude 7.8 earthquake struck the city on April 18, 1906.

13. In Lyons, France, Auguste and Louis Lumière, the inventors of the first practical motion picture
projector, patented a major breakthrough in the making of color photographs in 1904. The
Autochrome Lumière was the first commercially viable and extensively used color photographic
process. Introduced to the market in 1907, it remained in production until 1935.

14. King Frederic VIII and Queen Louise of Denmark, Paris [the first news pictures in color]
1907, 17 June

22. In Adobe programs, there are two color models you need to
know:
RGB & CMYK
RED
BLUE GREEN
(K=black)

23. In Adobe programs, there are two color models you need to
know:
RGB & CMYK
RED
MAGENTA YELLOW
BLUE GREEN
CYAN
(K=black)

24. RGB is light. CMYK is ink.

25. RGB is light. CMYK is ink.
RGB is called additive because all of the colors
together at 100% would create white.

26. RGB is light. CMYK is ink.
RGB is called additive because all of the colors
together at 100% would create white.
CMYK is called subtractive because the absence of all
ink would leave white.

27. Taken together, RGB and CMY form a relationship of
primaries and secondary colors that can be mixed to
create all of the colors in between.

28. All six primary colors are made up of one complement
and two components.
A 100% fully saturated green
also contains no magenta.
At all. Magenta also contains
no green. They are each
other’s complements.

29. All six primary colors are made up of one complement
and two components.
A 100% fully saturated green is
composed of equal amount of
yellow and cyan only. Yellow and
cyan are green’s components.
A 100% fully saturated green
also contains no magenta.
At all. Magenta also contains
no green. They are each
other’s complements.

30. Every color can be de ned by four essential qualities:
1. HUE
2. SATURATION
3. TEMPERATURE
4. VALUE

31. Every color can be de ned by four essential qualities:
1. HUE
Where the color sits in the visible wavelength: “red”, “blue”

32. Every color can be de ned by four essential qualities:
2. SATURATION
The intensity of a color: “ re engine red”, “pastel red”

33. As a graphic designer, you need
to be comfortable with with
working with RGB (256 values)
and CMYK (ink percentages).
How would you increase the
saturation of the green sweater?
What is the “formula” for the
sweater?

34. In a fully desaturated image, the
RGB values will be equal.
In the example to the left, the
pixel that is being measured has a
value of 33 in all three channels,
indicating that it is fully
desaturated/neutral.

35. Every color can be de ned by four essential qualities:
2. SATURATION
The intensity of a color: “ re engine red”, “pastel red”

36. Every color can be de ned by four essential qualities:
3. TEMPERATURE
The color’s perceived warmth or coolness

37. Every color can be de ned by four essential qualities:
4. VALUE (or BRIGHTNESS)
The tonal value of a color, how light or dark the color is

38. Every color can be de ned by four essential qualities:
4. VALUE (or BRIGHTNESS)
The tonal value of a color, how light or dark the color is

39. Every color can be de ned by four essential qualities:
4. VALUE (or BRIGHTNESS)
The tonal value of a color, how light or dark the color is

40. COLOR EXERCISES

41. CORRECT WITH: auto color

42. CORRECT WITH: color balance

43. CORRECT WITH: levels

44. CORRECT WITH: channels

45. CORRECT WITH: curves

46. CORRECT WITH: hue saturation

47. CORRECT WITH: match color