Jim Zuckerman

One of my favorite color combinations is white on white and I want to introduce this approach to using color because the results can be so beautiful.

There is something ethereal and captivating about images that are devoid of the colors that we associate with the spectrum. Images that are primarily white seem pristine, intriguing, and they will complement virtually any type of home or office décor if you are looking to frame some of your photography.

The concept of complementary colors refers to three pairs of colors that artists agree look good together and complement each other. They are based on the color wheel that arranges colors in such a way that the colors opposite each other represent the three pairs. They are red and cyan, green and magenta, and blue and yellow. This doesn’t mean that other colors don’t work together very well, but it suggests that if you use complementary color themes in your work, the images will be visually compelling.

Chromatic aberration is an inherent problem in the manufacture of lenses. It is the failure of the glass to bend the light in such a way that it focuses all the colors at the same point, and it occurs because lenses have a different refractive index for different wavelengths of light. It is characterized by color fringing, or unwanted colors at the edge of objects. The colors can be red, cyan, green, magenta, blue, or yellow. You usually can’t see this fringing until you magnify the image quite a bit, but at 100 percent and higher it’s quite obvious. I’ve enlarged (#1) to 300 percent, and in (#2) you can see what I’m talking about. Chromatic aberration is quite pronounced in wide angle lenses, and it’s most obvious in the corners. The picture of this famous pool in the Gellert Hotel, Budapest, Hungary was taken with a 14mm lens. The center of the lens is largely devoid of these unwanted colors. Telephotos also have chromatic aberration, but it is usually not as bad.

As much as I love to capture subjects with saturated color because of the powerful visual impact they offer, I also seek out the opposite end of the spectrum. Subtle and desaturated colors create impact in a very different way. There seems to be a magical quality in nature, for example, when you shoot in fog or low clouds. This is one of the reasons I like photographing at dawn and sunrise because if there is humidity in the air, this is the best time to find these conditions. The colors are so soft and muted that they are breathtaking in a quiet and contemplative way.