{"id":7259,"date":"2009-06-24T18:09:37","date_gmt":"2009-06-25T02:09:37","guid":{"rendered":"http:\/\/moosepeterson.com\/blog\/?p=7259"},"modified":"2009-12-04T13:49:04","modified_gmt":"2009-12-04T21:49:04","slug":"the-psychology-of-color","status":"publish","type":"post","link":"https:\/\/www.moosepeterson.com\/blog\/the-psychology-of-color\/","title":{"rendered":"The Psychology of Color"},"content":{"rendered":"

Reprinted from Vol 5-1 of the BT Journal<\/a><\/p>\n

In wildlife photography, I think the psychology of color plays an \toverwhelming role in the success of an image to communicate. I’ve waited \ta long time to present this piece and I can’t think of a better time \tthan with the Journal’s first color issue to bring you what I think \tare critical concepts for success.<\/p>\n

Advertising-grabbing the attention of the buyer to buy one’s product. \tIn a sense that’s exactly what we’re attempting to do with our photographs. \tTo be successful we should be doing it with color in mind just like \tMadison Avenue! We might not be selling a “product” with our images, \tbut we are most definitely aspiring to grab our viewer’s attention. \tAnd if our ultimate goal is to communicate, then we really are trying \tto sell something, even if it’s no more than our vision.<\/p>\n

When I was in college, I took a class that was just about color in \tadvertising. One of our assignments was to go to the supermarket, glance \tup and down all the aisles, without walking them, and take note of the \tmost overwhelming colors we saw. Twenty years ago when I did that assignment, \tthe overwhelming dominant color was red. If you were to do the same \tassignment today, you’d find that red is nowhere near the most dominant \tcolor anymore.<\/p>\n

There’s an age-old adage that when photographing birds, if you don’t \thave a good background, find something green to put behind them. Why \tis the color green important or so pliable that it’s a universal cure-all \tfor the backgrounds for birds? What is it about color that grabs our \tattention in a scene to photograph it in the first place? What are we \tdoing technically right or wrong in our photography to exploit people’s \tnatural draw to color? Unlock these answers for yourself and your photography \twill span the rainbow!<\/p>\n

The Basic Psychology of Color<\/h2>\n

With the human brain able to distinguish over two hundred shades \t\t\tof white, able to see the same color no matter the light source, saying \t\t\tcolor is essential to our perception is no slight exaggeration. Viewing \t\t\ta black and white scenic full of all the shades of gray that a good \t\t\tpaper and photographer can bring to light, the emotions just those \t\t\tshades of gray can evoke is tremendous! But that’s just a small sampling \t\t\tof the potential a full palette of colors can bring to a photograph. \t\t\tI’m not going to pass myself off as a scholarly master of psychology \t\t\tor try to convince you that one must have one color over the other \t\t\tfor a photograph to be successful. A sunset is going to be in a red \t\t\tband of light no matter what psychological message we might want to \t\t\tcommunicate. What I want to bring to the forefront of your photographic \t\t\tconsciousness and understanding is what color can communicate and how \t\t\tyou can make use of that in your photography.<\/p>\n

When photographing wildlife, you’d be surprised by the emotional response \tcolor can evoke, and how color, especially the color of the background, \tcan emphasize and enhance that emotional response. We can’t change the \tcolor of a subject to any great degree, but we can definitely alter \tthe colors of the world around the subject to some degree, using various \ttechnical tools at our disposal. (If nothing else, this will help you \tunderstand what images to send and not to send to editors.) But which \tcolors communicate what? Let me give you some very basic descriptions \tof colors and how we subconsciously perceive them. (It’s very important \tto realize that we are talking about psychology of colors here; folks \tdon’t see certain colors, then rationally think about their emotional \tresponse to them.)<\/p>\n

Yellow<\/strong><\/em> – is the most visible color and is the first \tcolor the human eye notices! Yellow, the color nearest to “light” leaves \ta warm and satisfying impression, lively and stimulating and in many \tcultures symbolizes deity. Dark yellow can be oppressive while light \tyellow is breezy. Yellow’s stimulating nature and high visibility to \tthe eye is the reason why many road signs are bold yellow (contrasted \tby black text). Yellow birds, flowers and skies are sure to be eye-catchers \tjust because of the way the mind and eye works!<\/p>\n

Orange<\/strong><\/em> – is a good balance between the passionate red \tand the “yellow of wisdom.” Orange is symbolic of endurance, strength \tand ambition. It can represent the fire and flame of the sun. Orange \tis said to also have the cheerful effect of yellow, but is intensified \tin its closeness to the color red.<\/p>\n

Red<\/strong><\/em> – is a bold color that commands attention! Red gives \tthe impression of seriousness and dignity, represents heat, fire and \trage, it is known to escalate the body’s metabolism. Red can also signify \tpassion and love. Red promotes excitement and action. It is a bold color \tthat signifies danger, which is why it’s used on stop signs. Using too \tmuch red should be done with caution because of its domineering qualities. \tRed is the most powerful of colors.<\/p>\n

Pink<\/strong><\/em> – is the most gender specific. Pink represents \tfemininity and has a gentle nature (which is not a bad thing). Pink \tis associated with sweets like candy and bubble gum. It also symbolizes \tsoftness. Because it’s so “feminine,” use of pinks should be well planned. \tPink and blue color combos are most associated with babies, soaps and \tdetergents.<\/p>\n

Purple<\/strong><\/em> – is a mixture of somber blue and active red. \tIt can represent coolness, mist and shadows. It symbolizes royalty and \tdignity and can be mournful, yet soft and lonely. Purple is described \tas an “unquiet color” being mysterious and mystic in a cultural sort \tof way. A study revealed that purple, the color of mourning among many \tpeoples, meets with disapproval in six Asian countries.<\/p>\n

Blue<\/strong><\/em> – represents temperature, sky, water and ice. It \tis the second most powerful color. It obviously represents coolness, \tmist and shadows. In some applications it can represent peacefulness \tand calmness. And as pink represents femininity, blue represents masculinity. \tBlue is often associated with somber emotions like sadness, gloom and \tfear. Blue is a contemplative color, meaning intelligence and strength. \tIt is one of the most politically correct colors there is with no negative \tconnotations of it anywhere on the globe.<\/p>\n

Green<\/strong><\/em> – is the most restful color for the human eye. \tIt’s the universal color of nature as well as represents fertility, \trebirth and freedom. (That answers the question why it’s the best background \tfor birds.) Bright green can be uplifting while dark green evokes a \tmental picture of a pine forest. Street signs are painted a metallic \tgreen background contrasted with white letters because the combination \tis believed to be the easiest to read and recognize for the human brain. \tHowever, as with most colors, green also brings forth some negative \tconnotations. The phrase “green with envy” also gives way to guilt, \tghastliness, sickness and disease.<\/p>\n

Brown<\/strong><\/em> – is associated with nature, trees and wood. It \trepresents conservancy and humility. Next to gray, brown, in one of \tits many shades, is one of the most neutral of the colors. It is useful \tin balancing out stronger colors, and because it is one of the most \tpredominant hues in nature, it gives a sense of familiarity. Light brown \tconfers genuineness while dark brown is reminiscent of fine wood and \tleather.<\/p>\n

Gray<\/strong><\/em> – gives the stamp of exclusivity. It’s the color “around \twhich creative people are most creative.” Gray is a neutral color that \tcan enhance and intensify any other color it surrounds. It can enhance \tthe psychological response of the other colors it supports.<\/p>\n

Black<\/strong><\/em> – is associated with elegance and class (black-tie \taffair). It is the traditional color of fear, death and mourning. Look \tat the many terms using the word black to understand how it is perceived: “black \tsheep,” “black heart,” “black and blue” and “black mark.” Despite the \tnegative imagery that black brings, it is a preferred color in many \tdesigns since it contrasts with most colors quite well. If used correctly, \tit promotes distinction and clarity in your images.<\/p>\n

White<\/strong><\/em> – symbolizes purity, innocence and birth. It’s \tclosely associated with winter and can also represent surrender or truth. \tIn the color spectrum, white is the union of all the colors. Its neutrality \tand conservative nature is widely accepted. Its simplicity and subtle \tquality makes it an ideal color for establishing clarity and contrast \tin your images.<\/p>\n

If you’re like most folks, you’ve probably never thought about color \tin this way. That’s partly why it’s called the psychology of color. \tIt is truly a powerful part of communicating, which is used on a daily \tbasis in selling products. You’re probably saying this is all well and \tgood, but what does it really have to do with your photography? Well \twhy not use the same principles to help sell your message, your photograph \tor photography? I bet that if you look at your favorite photographs, \twhether your own or someone else’s, and you look at the colors and then \tread the above definitions, you’ll soon discover just how important \tcolor really is. Let me further demonstrate with some examples.<\/p>\n

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\"BTThe photo on \tthe cover of this issue of the Journal of the male San Joaquin Kit Fox \tis a prime example. One of my signature images that has a huge publication \thistory and has been used to help protect and preserve this endangered \tspecies for nearly fifteen years, grabs the viewers’ attention instantly. \tThe dark background in concert with the fox’s posture brings out elegance \tand class. The brown coat is a color of familiarity and nature and with \tthe slight orange tinge to the coat, brings warmth to the image. While \tthese things are obvious in the photograph, the effects on the mental \tand emotional senses are not. It simply just grabs your heartstrings \tand doesn’t let go! Color is a big reason why!<\/p>\n

\"BTAnother good \texample of this is the photo of the Pacific Loon. This is as regal a \tpose as you can find, and as regal a bird as you can imagine! The early \tmorning 5 am light of the tundra, the black body, white stripes and \tgray head are all dynamic colors. White and its purity, black with its \telegance and gray with its depth make the loon stand out in the mind. \tBut it’s the warmth of the yellowish gold background and foreground \tthat give the image that “deity” feeling befitting the loon’s pose. \tAny other colors, and it would have been just a bird on the nest. But \tit’s the colors that make the image a standout and eye-grabber!<\/p>\n

The critters in these two images and their poses are the heart of these images, \tbut it’s the colors that make them stand out! Could I have put a different color \tbackground behind these two photos? Was there an option? Nope, it is what it \tis. My point is not that we can radically change background colors or even that \tof the subject to any degree, just that those really memorable images have color \tcombinations like those in these two images that play on the psychology of the \tmind. We need to recognize this and exploit it, for lack of better terms, whenever \tit’s possible! It’s part of that eight second clock I’ve talked about before, \tthat clock that starts when someone first looks at an image and the time we \thave to grab their attention before it goes elsewhere. Color psychology is a \tbig part of beating that clock!<\/p>\n

Tools for Color Psychology<\/h2>\n

Being aware, really aware of these colors and how they affect our \t\t\tperception and the responses they evoke inside of us is important. \t\t\tUnderstanding how you can affect these colors with the tools we use \t\t\tevery day is even more important. I’m not talking about Photoshop or \t\t\tsome bizarre filter, but basic tools you should have in your camera \t\t\tbag or vest at all times.<\/p>\n

The lens and its angle of view as described in the last Journal is \ta very important tool. The ability to manipulate the background with \tlarge or small adjustments of lens positioning, depending on the focal \tlength, can make a world of difference to an image. At the same time, \tyour ability to get close physically to a subject and then use optics \tto isolate it can also make a difference. The Arctic Hare is a good \texample of what I’m talking about. By getting in close, I could eliminate \tthe gray of the surrounding boulders and snow on the right and focus \tin on just the colors of the hare, emphasizing the warmth of the pelt \tand the effect of the setting sun on that pelt. Let’s be honest, who \treally wants to see a portrait of a bunny? But when there is drama and \tdignity in the color and light, it makes you stop and look, and hopefully \twonder.<\/p>\n

The film you use most definitely makes an overwhelming difference \tin your photography when it comes to the psychology of color! The bias \tof your film has the most obvious affect on the psychology of color. \tEverything from the qualities of its white to the richness of its greens \tand every shade in between, film is the platform from which you build \tyour vision! The contrast of your film all by itself can make or break \tyour communication efforts. Black is an amazingly important part of \tcolor, a separator, definer, and enhancer unparalleled! This critical \tfact that was driven home to me when I learned to do color seps for \tthis Journal and saw how important it is just for editorial publication! \tAll of this starts, and ends with your film so don’t take it lightly!<\/p>\n

The very exposure you select for your photograph greatly influences \tits color and its mental effect. A mere plus or minus of just 1\/3 stop \tcan radically change everything! This effect on the subject, the background \tand surrounding colors, making them darker or lighter in tonality, all \tplay such an important role in your ability to communicate. The image \tof the Roseate Spoonbill is an excellent example of this. The pink of \tthe spoonbill is such a subtle yet dynamic color that can be radically \tchanged by a mere 1\/3 stop, be it from exposure or, and probably more \timportantly, the quality of the light. Look at the spoonbill; you can \tsee detail in the shadow areas, which tells you the quality of the light \tthat was present. You thought quality of light had to do with just exposure, \tbut it greatly influences colors and their mental reach to communicate!<\/p>\n

The psychology of color is the main reason why I always use an 81a \tfilter. I’ve written about this before in the Journal, but this very \tsimple tool that you can always have with you can make a world of difference \tin your success as a communicator and photographer!<\/p>\n

Flash is another critical tool in the psychology of color. As you’ll \tread in other articles in this Journal, flash brings the film’s 5500k \tto light so the true color of the subject can be captured. There are \ttimes when, depending on the light source, this can be a critical part \tof making an image happen!<\/p>\n

Even simple tools like the Polarizer can greatly affect the colors \tof your image. The importance of removing the blue, cold tint of the \tsky from a scene or subject can’t be overstated! That blue reflection, \temanating from the sky can be an image killer! By combining the 81a \tand polarizer, you can radically change the \tmental perception of your photograph. Instead of repelling the viewer, \tyou can suck them right in. It’s all in the psychology of color!<\/p>\n

I more than understand that many will read this and say, phooey! There \tare definitely two camps in photography, the technocrats and the impressionists. \tWhile I personally feel both are important in the creation of an image, \tit’s the impressionist’s slant whose images I truly enjoy and in the \tbusiness world, are the ones that sell.<\/p>\n

Photography seems so much easier when all you worry about are f\/stops \tand shutter speeds, but it’s one heck of a lot more fun when you consider \tthoughts way beyond those basics. Photography is a whole lot more rewarding \twhen you take it to a higher plane, leaving behind the day-to-day drudgery \tand make it into a quest. And when you go beyond that and start taking \tinto consideration such subtleties as the psychology of color when communicating, \twell the joy it brings to you and the viewer of your images cannot be \texpressed in words. When all the elements that make a great image come \ttogether, which must include the psychology of color, you’ll know it \tbecause the viewer of your image will simply smile, a smile that comes \tfrom deep within and radiates out, reflected in your photography!<\/p>\n

The sun is rising on another great day, time to go out and capture \tsome more images. Make it a colorful one!<\/p>\n","protected":false},"excerpt":{"rendered":"

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The Psychology of Color<\/a><\/blockquote>