1 July 26
Local Color
A while back I picked up a copy of the book Local Color: Seeing Place Through Watercolor, by Point Reyes artist Mimi Robinson. The book describes a practice for developing observational skills in landscape art. Robinson’s idea is to paint in watercolor a swatch chart of the key colors seen at a locality. These color palettes can be simply be a visual record of place, or serve as a starting point for a subsequent painting.
Or perhaps they can be used in photography? One of the things I have become sensitive to after years of practice in mixing watercolors is how inaccurate photographs can be in illustrating the colors of the lightfield at a scene. Sometimes this is a result of colors being out of gamut, but more often this is because the photograph’s color rendering is emphasizing the wrong combination of hues with respect to what catches one’s eye. A usual workflow in art is to take a photograph of a scene to use as a reference for a painting. I’m imagining the opposite workflow — paint a local color palette while at the scene, and then use that palette as a guide to color grading the photograph in editing.
A common practice in editing a photograph is to adjust the colors of the image until it is aesthetically pleasing. But if this is done at some remove from when the photograph was taken, it is easy to forget what the scene felt like visually. The paradox is that the photograph itself does not supply enough information to interpret the color relationships during the editing.
At left is a page from my nature journal from yesterday, where I am starting to explore this concept. At this time of year in our neighborhood, the dominant colors are the intense cobalt blue of the sky, and the yellow greens of the urban forest canopy, primarily sycamores.
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