482. Angelou, Christopher, ed. Making the Most of Colour.

London: Wm. Collins, 1982. 96 pp. Index, glossary, B/W illus., color illus.

ISBN 0-004116-40-2.   

    This introduction to color photography by a London Sunday Times

editor credits eight others who contributed to this team-produced book.

Discussions of color basics such as color theory, color contrast, color

harmony, and color and mood make up most of the text, although technical

and practical information on many topics is also provided. The hue circle

and primary and complementary colors of light are presented in diagrams.

The striking photographs by leading professional photojournalists are

analyzed in the well-written text that covers one third of each page. Shot

around the globe, the photograph’s subjects range from portraits, people

and events, to landscapes. A useful glossary is included. The high quality

of the photographs, informative text, and handsome book design will

please the general reader as well as the specialist.

483. Bailey, Adrian, and Adrian Holloway. The Book of Color Photography.

New York: Alfred A. Knopf, 1984. 215 pp. Index, glossary, color illus.

ISBN 0-394-72467-4.

    While this comprehensive book thoroughly covers the technology of

camera equipment, films, color printing, and the art of picture taking, it also

contains chapters on the history of color photography and the language of

color. To develop color awareness and explain color relationships beyond a

color circle, the authors introduce ten categories of color effects. These

include strong color, muted color, high- and low-key color, color contrast,

color harmony in nature and predominant color. Each category is explained

in two facing pages with text and photographs by many leading

photographers that teach by example. Photographs or instructive diagrams

appear on every page of this friendly text which is packed with suggestions

and guidelines for practical application.

484. Current, Ira. Photographic Color Printing: Theory and

Techniques. Boston: Focal Press, 1987. 282 pp. Index, bibl., B/W

illus., color illus. ISBN 0-240-51787-3.

    The author states that his textbook is designed to guide the reader

through the fundamentals of current tri-color theory as it applies to color

photography. The book is organized into five chapters of general interest

followed by eight highly technical chapters. Concise and clear explanations

of aspects of human vision and the role of light sources and modifiers are

helpful and relevant to other situations and contexts that involve color and

light. The chapter on visual effects discusses simultaneous contrast and

outlines other information that is foundational to color application in various

media. The book design is uninspired, and it is disappointing that although

there are numerous black-and-white figures, only 17 color photographs

appear. However, the five introductory chapters have much to offer the

serious general reader as well as the intended audience of photography


485. Eastman Kodak Company. Color. Rev. ed. Alexandria, VA: Time-Life

Books, 1981. 240 pp. Index, bibl., B/W illus., color illus. ISBN 0-8094-

4152- 7.

    Explanations of the new tools and techniques that appeared in the

decade following the original 1970 edition are linked to the near monopoly

of color photography in family and fashion pictures, nature photography,

and photojournalism. How color film works, the history of the search for a

color process, light sources, film and filters, and achieving desired color

effects are thoroughly covered. A superb overview of innovators in color

photography documents the nature, fashion, and news photography of

Irving Penn, Eliot Porter, Ernst Haas, and Larry Burrows. Techniques are

given for photographing works of art. The chapter on tools and techniques

gives detailed step-by-step illustrated instructions for home processing.

486. Eastman Kodak Company. Color as Seen and Photographed. Rochester,

NY, 1972. Publication E-74. 68 pp. B/W illus., color illus. ISBN 0-87985-033-7.

    The excellent treatment of the science of light and color and

characteristics of color makes this an especially valuable reference for use as

a supplement to newer Eastman Kodak publications. Color and light

principles related to color photography, problems in color photography, and

visual effects are concisely explained. The discussions of Kodak films and

color photography are now dated, as is the appearance of many of the


487. Eastman Kodak Company. Make Color Work for You. New York: Time-

Life Books in association with Eastman Kodak Company, 1983. 104 pp.

Index, glossary, color illus. ISBN 0-86706-205-3.

    Creative use of color as the subject of photography is the focus here

The relationship between color and light is explained and illustrated as a

background for film selection. The book also addresses: use of color to

create compositions that express a mood; use of natural or artificial lights to

affect the color of objects; and camera techniques that modify color and the

appearance of subject matter in interesting and unexpected ways.

Throughout, excellent color photographs illustrate the topics and specific

recommendations are frequently given for lenses, filters, and shutter

speeds. Both amateurs and professional photographers could benefit from

the information provided here.

488. Eastman Kodak Company. Mastering Color: Alexandria, VA: Time-Life

Books, 1985. Kodak Library of Creative Photography. 104 pp. index,

glossary, color illus. ISBN 0-86706-243-6.

    This book in the fine series produced by Eastman Kodak with Time-

Life begins with a well-illustrated overview of how color photography

evolved, and discusses human color vision and subtractive color. Color

moods and meanings for red, blue, yellow, green, gray and black, and

white are given in a section on how colors behave. The book also includes

a portfolio of outstanding work by contemporary photographers known for

their mastery of color. While technical information is provided for

professionals and students, the broad coverage of the nature of color and

light may interest the general reader as well.

489. Grill, Tom and Mark Scanlon. Photographic Composition.

New York: American Photographic Book Publishing, 1983. 143 pp.

Index, B/W illus., color illus. ISBN 0-8174-5419-5.

    This book begins with a “Graphic Controls” section that provides an

excellent introduction to design elements and principles, and then discusses

photographic composition, from physical aspects to implied psychological

nuances. The systematic yet imaginative approach to photography contains a

useful 20-page section on understanding, controlling, and applying color

concepts. The color section starts with the meanings of color, including

physical and emotional responses, and color as a subject. Many other

interesting aspects of color in photography are covered. For example, three

brief essays devoted to the colors yellow, purple, and green, discuss human

responses associated with each color and offer technical suggestions for

dealing with photographic problems presented by these colors. Many color

and black-and-white photographs and diagrams illustrate the design

concepts and related technical information. The emphasis on color and

design is central to this book, which will appeal to the thoughtful student or


  1. 490.Hattersley, Ralph. Beginner’s Guide to Color Photography. Garden

City, NY, Doubleday, 1979. 223 pp., B/W illus., color illus.

    This comprehensive book introduces beginners to a range of basic

technical topics like film, matching film to colors of light, exposure, and

color printing. In the beginning chapter on “where color comes from” the

reader is asked to think of color as light. The concise but understandable

discussion of color cleverly integrates explanations of additive color, how

the colorant primaries of magenta, cyan and yellow subtract certain colors

from the light that falls upon them, and how color filters work. Diagrams

show the light primaries of red, blue and green. The subtractive color

wheel features the opposites used in color printing of green and magenta,

cyan and red, and yellow and blue. The concluding chapters challenge the

beginner with thought provoking questions on composition, intent, and

judging one’s own pictures.

491. Hedgecoe, John. The Art of Color Photography. New York:

Simon and Schuster, 1989. 304 pp. Rev. and updated. Index, bibl.,

glossary, color illus. ISBN 0-6716889-8.

    Technical aspects of color photography are covered very well in this

book, as one would expect from a world-famous photographer. What is

unique is that a third of this comprehensive work explains what color is all

about, including color vision, perception, color mixing, color psychology

and the meaning of color. The discussion of color description features the

Munsell color solid and a 20-hue color wheel. Although he does not use the

accepted term “simultaneous contrast” in his color relationships section,

Hedgecoe demonstrates this important phenomenon as “neighboring

colors.” Nearly 600 superb color photographs and many colored diagrams

dramatize the nature of color and light. Guidelines intended to encourage

good design are also incorporated. For example, for effective color he

advises photographers to concentrate on the light rather than the subject,

since “everything in the world changes its hue according to the light.” This

inspiring and practical work continues to have enduring value as a general

introduction to color, whether for photographer, designer, or the general

reader who wishes to understand and apply color and light principles in

creative work.

492. Hedgecoe, John. The Photographer's Handbook. New York:

Alfred A. Knopf, 1977. 352 pp. Index, glossary, B/W illus., color illus.

ISBN 0-394-40754-7.

    This comprehensive reference manual of photographic techniques,

procedures, equipment,and style is abundantly illustrated with black-and-

white or color illustrations or photographs. Twenty pages are devoted to

color photography, processing, and printing. The section on additive color

and color usage includes a hue circle and information on complementary

color, “discordant” color, saturation, dominant color, pasttern, and harmony.

This book could be a useful starting point for beginning color

photographers because of its wide variety of topics.

493. Isert, G. The Art of Color Photography .New York: Van Nostrand

Reinhold, 1971. 411 pp. Glossary, B/W illus., color illus.

    The color printing of this English edition, adapted by Leonard Gaunt

from the original German edition, gives the book a dated look. However,

several features of this highly instructive book are of enduring value. The

first half covers photographic technology, optics, color vision, and lighting,

and includes an excellent glossary. This work uses pairs or groups of

photographs to illustrate important color and design principles, supported

by text and small hand-drawn diagrams that analyze the color structure of

every photograph. General guidelines for color photography are shown in

15 simple color plates. Unfortunately, one caption states simultaneous

contrast effects incorrectly. But in general, the reader who studies the color

section should come away with a heightened awareness of color design

principles for color photography.

494. Mante, Harald. Color Design in Photography. New York: Van

Nostrand Reinhold, 1972. 108 pp. Index, color illus. ISBN 0-442-26308-2 .

    Intended as a manual on color and design for photographers, this

book is sufficiently general to be useful to a broader audience. Mante

discusses basic color theory, color characteristics, and color harmony, and

presents Itten’s seven color contrasts in photographs. Although he properly

credits Itten, he incorrectly attributes Goethe’s nine-hue triangle to George

Field. Beautiful color photographs clearly illustrate the text. This book is

valuable not only for the information it contains, but also because it clearly

demonstrates that color theory relates to nature and the environment and

has practical applications.

  1. 495.Martin, Judy, and Annie Colbeck. Hand-tinting Photographs:

Materials, Techniques, Special Effects. London: McDonald Orbis, 1989.

160 pp. Index, B/W illus., color illus. ISBN 0-89134-303-2.

    Many illustrations show what leading artists do with paints, dyes,

and crayons on photographic surfaces. Tutorial material follows an

introductory section that traces the history and development of hand-tinting.

This beautifully designed book will interest readers who seek inspiration

and technical information on this subject as well as those with a more

general interest in this aspect of color in photography.

496. Sanders, Norman. Photographing for Publication. New York: R. R.

Bowker, 1983. 112 pp. Index, bibl., B/W illus., color illus. ISBN 0-8352-1733-7.

    The author of Graphic Designer's Production Handbook, Norman

Sanders is thoroughly familiar with production of graphic design and with

printing black~and-white and colored photographs in publications. Half of

this informative book consists of three chapters on color separation and the

printing process, standards for images in color, and meeting the highest

standards of color art. The author systematically explains the limitations

faced by lithographers as they make the critical step between the

transparency material (which makes up more than 85 percent of the color art

submitted for printing) and the printed sheet. He urges photographers and

designers to consult with lithographers in advance and provides systematic

guidelines on how to compensate for limitations early on when photographs

are made, in order to enable photographs to stand up better to the effects of

the printing process. Consideration is given to the influence of colored

printing inks, the limited range of light reflectance of paper, and the viewing

environment. To improve the quality of the photograph, he recommends

the use of view cameras, tripods, and contrast control. While photography

books usually address 'issues involved in making the photographic image,

the special feature of this handsome book is its thorough coverage of steps

necessary to improve the translation of color transparency to a printed page.

497. Upton, Barbara London, with John Upton. Photography. 4th

ed. Glenview, IL: Scott, Foresman, 1989. Adapted from the Life Library

of Photography. 426 pp., Index, bibl., glossary. B/W illus., color illus.

ISBN 0673398420.

    This edition adds sections to a well-received text that adapts

material from several earlier Time-Life photography publications. Its 16

chapters cover an encyclopedic range of topics. Two chapters -- one on

basic design and another on color -- provide an excellent design foundation

for photographers. The abundant photographs and instructive diagrams

support clear and concise explanations of additive and subtractive primaries

colored filters, color film emulsion layers, color changes in nature

throughout the day, and color balance. The content is broken down into

small units for ease of understanding so that concepts, skills, and

techniques are presented as single topics on two facing pages.