Previously, I did not know how to work with color, that is, I tried to work with it. Some kind of absurd...nonsense, you say. Yes, the sentence is built precisely for this purpose, in order to reveal its meaning later.
Once upon a time, I specially processed color, that is, I worked with channels, I tried to adjust each tone separately.
And for the correct work with color, you simply do not need to touch it programmatically.
You need to look for color in nature, you need to be able to see it and correctly combine it.
If this is a natural landscape, then you don’t even need to combine anything - nature itself has done everything for you.
And in an urban environment, color can be incompatible ... but this already has a different meaning, just to capture this incompatibility and pretentiousness.
This is the essence of documentary photography.
What happens around me is what I capture.
And if suddenly something does not match in color, then this is not my fault.
Documentary photographer, it turns out, a freeloader?
He disclaims responsibility for the wrong combination of colors, for the wrong composition, and in general for the whole plot.
These are portraitists with landscapers, let them go out of their way, retouching and adjusting colors, getting rid of parasitic shades.
And we are fine: if the white balance is not corrected, then so be it.
If there are parasitic shades, then such a light, sorry.
In this project, I would rather even intentionally look for color mismatches than pick up the gamma.
Such is the nature of the night lights of the city, where each light source is in itself and does not depend on the other.
If nothing is perfect in real life, then why try to do it?
Lies, turns out...
I'd rather show you the truth, which, by the way, can be beautiful!
To be continued...