OVERVIEW

Another perspective on composition in photography is that of the distribution of tones and colors. This is intimately connected with exposure and with the ways in which this is later interpreted traditionally in the darkroom during printing and development, now in digital post-production when the image file is optimized and adjusted. This interconnects with the handling of graphic elements that we examined in the previous chapter indeed, the two are inseparable. A point functions in a photograph because it has a tonal or color contrast with its background. Lines and shapes also have an effect in proportion to how distinct they are, and ultimately this comes down to tonal and/or color relationships. These are the spectral components of design.

Tone and color are related yet remain distinct, in a complex inter-relationship. One of the less obvious benefits of digital photography is that the process of optimizing images on the computer has taught more people about the science of imaging than would ever have been possible without digital technology. Most serious photographers are now thoroughly familiar with what used to be considered arcane features such as histograms, curve adjustments, black points, and white points. Adjusting images with Levels, Curves, and Hue-Saturation-Brightness sliders makes it perfectly obvious how closely connected are tone and color.

At the same time, color has its own influences on our perception, and its multi-layered complexity has been recognized from the beginnings of art. There are color optical effects like successive contrast that work independently of taste, culture, and...