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Spotlight | Nevada Wier. Nevada Wier is a free spirit who says she's born to roam. She also happens to be an outstanding, passionate photographer with extensive outdoor experience, so photographing faraway places and isolated people just seems natural. Her images have garnered the attention of stock imagery licensing companies, been displayed for the gaze of art gallery visitors, and populated the pages of high-profile magazines. Wier is based in Santa Fe, New Mexico, where she teaches workshops in photography, but is more at home exploring seldom-visited villages, geographic wonders, and engaging with isolated tribes and communities around the world.

In this interview with Photoshop.com, Wier shares her thoughts on her passion for photography, connecting with her subjects, and adapting to a changing industry. Photoshop.com: Which piece of equipment couldn’t you live without and why? Nevada Wier: Almost everyone has a digital camera these days. Photoshop.com: How do you know that a photo is really good? Landscape Photography. Introduction The prejudice many photographers have against colour photography comes from not thinking of colour as form. You can say things with colour that can’t be said in black and white… Those who say that colour will eventually replace black and white are talking nonsense. The two do not compete with each other. They are different means to different ends. Color is all around us. This attitude regarding color contrasts sharply with the attitude of photographers who work in black and white. We will see all this in detail in the next article, Composing with Black and White.

Certainly, there is not just one approach and methodology but as many approaches and methodologies as there are photographers. It can also be said that there is more of a need for visualization in black and white than there is in color because we do not see the world in black and white. Good point. The same could be said about any natural physical ability. The Three Variables of color The Munsell Color System. LAB Color discussion -- Chapter 7 Workflow. Chapter 7: Summing Up: LAB and Workflow In the first six chapters we have been introduced to the LAB color space and an initial understanding of what the numbers in LAB represent - L -- 0( darkest) to 100 ( lightest) -- ( I have deliberately avoided saying black and white here, as the L channel does not refer to color whatsoever, so 100 L cannot be part of the description of any color.

The LAB color space can describe colors that are not within the gamut of sRGB or Adobe RGB or CMYK or of a monitor or a printed page - It can even describe colors that seem impossible called imaginary colors. Like imaginary numbers, imaginary colors can be quite useful, and will be in the future. Channel A and B are numbered from -128 to 127 ( 256 levels like other color channels in RGB or CMYK). Positive numbers (+) refer to magenta in A, and yellow in B. Chapter 2 continued the discussion of the numbers of the LAB color space.

And FINALLY TA DAA!!! Full Size Full Size Full Size Full Size Full Size Full Size. Norman Koren photography: images and tutorials. Kaboom Your Photography! The Luminous Landscape. Celebrating Our 15th Year Kilt Rock - Mealt Falls, November 2014 - Isle Of Skye, Scotland Fuji X-T1, 55-200mm at 74mm, f/8, 7.4 sec ISO 800, Lee Big Stopper by Kevin Raber There are Currently 184 Photographers Visiting The Luminous Landscape The contents of this site were last updated on 30 November, 2014 Michael's Phlog was just updated on October 21 lu-mi-nous (lue'muh nuhs) adj. 1. radiating or reflecting light; shining; bright. 2. clear; readily intelligible Welcome to The Luminous Landscape, the web’s most comprehensive site devoted to the art and technique of photography.

The Publisher of this site is Kevin Raber. Colour Theory. From Academia to "Gut Feel" Unlike painters, most photographs have little if any training in colour theory. This is a pity, since unless one understands the physiological as well as psychological basis of formal colour theory it's hard to understand why some photographs work and some don't, except on a "gut feel" basis.

I find it remarkable, but over the years I have never seen a comprehensive article in any photographic magazine about colour theory. A thorough search of the web has also come up short. Since most landscape, nature and wildlife photographers work in colour it is important we understand the underpinnings of our art. This is not a simple topic. It intertwines the physics of light, the physiology of vision and our psychological perceptions. I've used coloured text wherever the name of a colour is used.

The Colour Spectrum Discussions about colour (British spelling) always begin with a colour wheel (above) and a discussion of the Primary Colours. First and Second Order Colours.