beginner basics
No Contrast
NO PROBLEM
The most beautiful composition can be dashed by improper use of color and contrast.
– CJ Rider
As we learned in our last column,
harsh light can work well with bold and
dramatic colours but blow out subtle and
delicate tones. The colour red supported
by black, or gold surrounded by blue, provide
the photographer with easy choices
in creating a pleasing composition.
But what if there’s no colour or light
contrast, only a monotone or duotone
with which to work?
Any photographer who has worked in
Newfoundland learns very quickly that
coastal fog can make a colourful scenic
harbour appear flatter than a day-old pancake.
Likewise for the photographer who
travels through Canada’s north, where
naturally-ignited wildfires are permitted
to burn themselves out.
What we’re beginning to recognize
is that in bright sunlight, that yellow
dory on a Newfoundland beach, or a
MacKenzie delta birch tree in autumn
foliage, fairly jumps out of the landscape.
Conversely, if we remove the direct sunlight,
that same composition turns those
bright yellows into a muddy eyesore.
As an experiment to reinforce this
thought, locate a window you can easily
peer out at any given time of day — perhaps
in the home kitchen or at the office.
Then find a subject that appeals to you, but make sure it’s only
one element such as a
tree or a building. Every
time you walk past that
window, have a glance
at the referenced subject
and note how the colour
and form of the subject
change depending on the
lighting conditions.
It stands to reason that
as we study the scene
from our window, the
bark on a tree or texture
of a brick wall will take
on a whole new meaning
if viewed in an overcast
light such as on a foggy
or cloudy day as opposed
to a bright, sunny day.
Now we have a eureka
moment: If highcontrast
light emphasizes
boldness and forces
us to search for scenes
requiring these sharp edges,
then by comparison
we should be seeking
scenes that are soft and delicate on
non-sunny day....
By Dale Wilson
Contributing Editor
To read more from Dale’s column please....
BIO
DALE WILSON is a professional photographer based in Dartmouth, Nova Scotia.
Growing up at his family's farm in the rural community of River Hebert, N.S. gave
Dale a love and understanding for the land and nature. Dale joined the Canadian
Military at a young age, and then wanting to pursue a career as a photographer, in
1990, he resigned from the military. He joined PHOTO Digest, later to become
PHOTO Life, as a contributing editor in 1993 and regularly contributed to that
magazine until 2000. He has written in excess of 60 photography-based articles for a
variety of trade magazines.
In 1994 he received a contract as a contributing artist with Masterfile, and has
remained with this stock photo agency since. His work has appeared globally in
countless, books, magazines and advertising campaigns.
Dale has given presentations on photography across Canada and the United States.
He is just completing his fourth book, and was a co-author of the highly acclaimed A
Guide to Photographing the Canadian Landscape with Daryl Benson.
Dale is now a regular photo columnist for Outdoor Photography Canada
magazine, the first Canadian national outdoor photography magazine of its kind.
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