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When people think about graphic design, photography, videography, etc. and how those things convey a message, they typically put a lot of thought into things like composition, fonts, framing, and the actual content of the work. Color is often seen as a “final touch” or just a small part of these creative endeavors.
However, relegating color to last place in terms of priority in the creative process is a mistake. Color is a powerful tool to convey a message, stir up emotion, and highlight subject matter.

One simple example of this is black and white silhouette photos. If you look at a black and white wide angle shot of a person sitting alone on a bench, you immediately get the sense of loneliness. You might also feel that the person in the image is depressed, or in a contemplative state of mind.

Now, imagine if that photo was in color. It could completely change the way you view the character. You might speculate that this person is outside to enjoy a beautiful day. Maybe they’re reflecting on their life, but in a positive way.
The movie The Revenant is another great example of color and its role in cinematography. The whole film is color graded in a way that takes out the vibrant colors of the landscape and the characters’ skin tone. The overall “look” is made up of blues, blacks and greys. In this way, the movie “feels” cold, bleak and dark. As the character moves through the austere environment, the color of the film maintains this bleak and drab feeling. By maintaining these colors with very little change from shot to shot, the film builds tension. It gives viewers the sense that things aren’t going to get better as Leonardo Dicaprio’s character struggles for survival.
Another power tool in the photographer or videographer toolbelt is how they use their shadows and highlights. The director Roger Deakins is known for utilising deep shadows in movies like Sicario, Blade Runner 20249, and No Country For Old Men. The shadows and highlights serve as a way to frame the characters, creating mystery and intrigue.

In the era of digital film, so many people obsess over dynamic range and the ability to make the tiniest details visible in the shadows, without blowing out the highlights. But this obsession with perfectly exposed images may make the film or photo feel “flat” and boring. Modern superhero movies are notorious for this. There’s typically no deep contrast between the shadows and highlights. They use the full spectrum of colors to create a “realistic” look, but as a result, nothing looks interesting or other-wordly.
Hopefully by now you’re seeing that color and exposure should not be an afterthought. Consider how light and color can tell a story before you even get to postproduction. When you’re setting up your shot, consider how you might use the shadows cast by the buildings around you at midday to frame a subject, rather than waiting around for golden hour or trying to fix up your shot with photoshop.

What emotion do you want your viewers to feel? Does the color enhance that feeling, or detract from it? Is there something in the shadows that you want to expose, but you don’t want it to be the main subject? Think about those movies you had to watch multiple times to catch the little details. Cinematographers often capitalise on this use of light, shadow and color to create rewatchability. Maybe you frame your shot in such a way that the eye is drawn to the shadows, but the blacks are boosted just enough that the details , but you have to look closer to see what’s there.
Are you trying to create a sense of happiness and optimism? Well then you may consider using bright blues, pinks, reds, and oranges. Are you going for that bleak and dreary feel? Then try desaturation all of those and boosting your blacks, greys, and blues.
Color is a powerful tool. Use it wisely.
About the Author:
Chris Duran is a content specialist of Design Magazine and TDS Australia.
Illustrations & Design by Thai Trinh
Thai Trinh is a graphic designer at TDS Australia.
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