Travel & Photography Magazine
A color grading workflow and two palettes using chiaroscuro lighting to help you create introspective storytelling! With @jujushoots / “In this series, light and shadow interact to create a contrast that enhances visual impact. This technique, often called chiaroscuro, is commonly used in street photography to guide the viewer’s eye and create depth. For example, it draws attention to the cyclist in image one and the pedestrian in image eight, as the sunlight isolates them against a deeply shadowed background. It also enhances storytelling—in image one, it suggests movement, solitude, or even a sense of purpose as the cyclist navigates through the light. 1) The color palette also complements the technique, enhancing its cinematic aesthetic: Dark blue-gray (1a1e22) Muted blue-black (262b2f) Muted warm brown (8f7362) Warm earthy brown-gray (564b47) Soft warm beige-taupe (bc9d89) According to color theory, this palette works well because of its dominant colors—brown and beige—earthy neutrals that convey stability, warmth, and simplicity. Brown adds depth and grounding, while beige brings softness and adaptability. Together, they create a timeless, comforting aesthetic. In photography, this duo is often used in nostalgic, soft-lit scenes, evoking feelings of warmth, memory, and timelessness. 2) On the other hand, image eight leans cool, with blues, teals, and grays shaping a moody atmosphere. The contrast is slightly stronger as the cool shadows enhance depth. An interesting touch comes from the introduction of pinks—the blend of blue-gray and muted beige-pink adds emotional depth, making the scene more melancholic: Deep teal-blue black (14242c) Muted beige-pink (b18e85) Dark slate blue-gray (364b54) Muted blue-gray teal (618793) Soft cyan-gray (bfd2d5) While the first image feels nostalgic, grounded, and cozy, image eight feels more melancholic due to the cool teals, grays, and desaturated blues. What do you think? Which color palette is your favorite?” 🎨 @nomadict: Swipe to find @jujushoots’ editing workflow and visit the link in our bio to read the full interview!
2997
26
12 days ago
Comments
1
11 days ago
Loving your work man!! 😤🔥
1
12 days ago
Love that second shot
1
12 days ago
😍😍😍
1
11 days ago
👏👏👏
0
12 days ago
Thanks Team 🙏
0
12 days ago
Great series, stunning shots. Congratulations 👏👏👏
0
12 days ago
🙌❤️
0
12 days ago
What a work 👏
0
12 days ago
🔥🔥🔥🔥
0
12 days ago
Woooow 👏👏👏👏👏
0
12 days ago
Omg these are all gorgeous !
0
12 days ago
😍😍😍
0
12 days ago
빛과 그림자, 참 매력적이네요!
0
12 days ago
👏👏👏👏👏👏👏👏👏
0
12 days ago
👏
PhotographersLatest content
Ansel Adams Photographer, Artist & Activist
*Happy Birthday to Ansel’s ‘Monolith’!* 🏞️ “Born” on this day, April 10, 1927. Andrea Stillman’s biography “Looking at Ansel Adams” includes a wonderful chapter all about this storied photograph: “In 1992 I was in Ansel’s workroom selecting images for a prospective book of his photographs when Virginia appeared and announced that she had found a stash of home movies from the late 1920s and 1930S. With anticipation we rented a movie projector to screen them. Miraculously, one reel included footage of the trek to the Diving Board. It showed Ansel in his favorite plus fours, lugging his forty-pound pack, with a rakish fedora hat and the Keds high-top basketball shoes he favored for hiking. “The climbers struggled up…in deep snow, and when they reached the Diving Board they pulled each other up with a ludicrously thin rope. Virginia fearlessly inched out onto the sharply angled granite spur, and when she reached the tip she stood up and blithely waved. It seems appropriate that Ansel presented the very first print of ‘Monolith’ to Virginia. “Ansel was twenty-five years old when he made ‘Monolith.’ At age eighty he was able to recall the experience of making the negative, every detail as clear as it more than a half century had not elapsed. He photographed Half Dome hundreds of times, and there are many different interpretations that include moons, clouds, snow, flowers, leaves, trees, even deer and people. In 1978, during one of his last annual Yosemite workshops, he and his photographic assistant, John Sexton, contemplated Half Dome together and talked about the taking of ‘Monolith’ in 1927. According to John, Ansel laughingly confided, ‘Maybe I should just have stopped then.’” Text, film footage and Ansel Adams images are copyright ©️The Ansel Adams Publishing Rights Trust. All rights reserved. John Sexton’s photograph courtesy of @johnsextonphoto. All rights reserved.