What could possibly influence our emotions in front of a movie or a photograph? The Color. It is through a short video that Lilly Mtz-Seara experiments color psychology and how the audience reactions are determined by the artistic directors of the film productions.
Our emotions are “manipulated” by the color associated with the scene shown on the screen and this concept applies equally to the photography field.
No long speeches or complex explanation, Lilly Mtz-Seara tries here to makes us realize how much our unconscious is influencing our emotions. To highlight the research done on the theory of color psychology, she selected scenes from films she arranged according to major themes. What we see through the video, is that the color range of each scene assigned to a word is invariably the same.
The work done on the color and lighting is what will determine our emotions while watching the movie screen, television or computer screens. Thereby innocence, sweetness and femininity range from a pink pastel to flashy shades, while violence and passion come together in shades of dark red. Sociability is found in neutral colors like taupe and orange, madness and insecurity through a harsh light color and yellow, the destruction in translated into a “neon” green, isolation characterized by a blue filter, fantasy and eroticism in purple and the list continues .
These colors are also found in photography as the theme exploited in the work of the artist with the ambiance and the emotion he wants to convey through his photographs.
This video provides a thought on how we react to colors themes and our emotional relationship to them: what are the colors that come into play in a social environment and on our own reactions? You can now try to apply color psychology daily and behind your camera of course.
In addition to simply expose a theory that can be complex psychologicaly and sociologicaly speaking, Lilly Mtz-Seara tests your knowledge about classic films by adding a list of movie clips used in her video, one more reason to look at it!
Of course, it’s the photographer who takes/makes the photograph. I’ve always said that but in the end, isn’t it a little demagogic. I know I’m not going to make a lot of friends saying this but, I do not completely agree when I hear that the equipment is not the photographer. Of course it is the photographer … at least partially! There are too many ingredients that makes that a photo will touch other people for us to exclude THIS reason. An 85mm f/1.4 is quite superior to a 28-70mm f3.5/5.6. And what if behind this “truth”, were hiding other feelings…
Photography is intimately linked to camera equipment. For a singer for instance, there is really no artifice. But a picture, it is different …
Talent is obviously above the material contingencies but with very good material it is even better expressed!
So we all agree that these talented characters would still be very talented with low-end gear. But why be masochistic and work with cheap equipment just because we have talent? And why, if you have no talent – in one’s opinion – shouldn’t we use a wonderful lens? There, I think we will all agree.
What can this old saying be hiding in the back of our heads?
I am aware that I therefore address a very tricky topic because often visceral. There are so many different ways to take photographs! With very simple equipment or very complex, very expensive or just very affordable, like your smartphone. Very pragmatic or artful, with or without talent …
Digital has entered our lives in all its possible forms, and frankly it is of course very convenient. It has never been easier to take a picture and share it with hundreds or thousands of people in seconds. But while printing photos is becoming easier and cheaper, the paper is shunned. Why?
In this article, we’ll explain why it is important to print your picture, either in the form of prints, albums or photo frames.
No matter the format, as long as it is your picture.
Printings, a Way to Aave Your Pictures
It might be less “smart” but it is more durable. That might sound silly to say as the paper can be damaged, burnt or torn etc. But, it might be surprising, the paper can be less fragile than a computer or a hard drive. A photo album that falls several meters high will resist a lot better than a hard drive.
Whether it’s film or digital photography, one of the problematics of the photographer is to have a secure archiving system of his/her photos. Photographers using the films are already well aware of the interest of the paper print, because without it a picture is not really developed. But for someone who only takes pictures in digital format, the images are often buried on hard drives or on an online photo storage service and forgotten. Continue reading Why Printings Are Essential For Your Practice→
For the past year, iLHP has been collaborating with some of the industry’s best brands and manufacturers in order to bring you the newest and latest in photography. We’ve had early sneak previews and exclusive interviews. This past month, we attended the PhotoPlus Expo in New York City and met with ZEISS. We had the fortune of speaking with Nicole (Marketing Manager), Christoph (Brand and Product Communications), and Christophe (Senior Product Manager).
What is Zeiss Up To?
They were very enthusiast in answering your and our questions. Many projects are being developed and as you can imagine the partnership with Sony is their main point of focus, so to speak. There are obviously some secrets that they have to keep as the industrial competition is always ongoing but they could let us know that we can expect about 5 new Full-Frame E-mount lenses, including 2 to 3 new ones in 2016.
The Full Frame system is now clearly what the engineering and R&D teams in Germany are asked to develop. The A5100 and the A6000 are amazing cameras but are not the primary targets they want to address. They admitted being surprised by how popular and successful the A7 series is.
I’ve been wondering for a very long time if using a teleconverter, moreover a 2x one, was worth it or not. I’ve heard a lot on forums that I would lose light, the aperture is reduced 2x (f/2.8 becomes f/5.6) that it is not sharp at all and that I would even lose autofocus. That made me doubt a lot even if it is not that expensive, but still, from $120 to $180 on average, that is always money coming out of you wallet that would be lost in the end if this is really bad!
I use this Sigma 150mm f2.8 APO macro lens for all my macro work that is very good but also big and heavy. I wanted to have this extra reach to do some wildlife photography without adding the bulk and weight to my backpack and without paying $1500-$2000 for a 300mm lens. A teleconverter then seemed like a good idea so I gave it shot. I bought this Bower Teleconverter on Amazon for $126.