Colore e fotografia

Autori

  • Giorgio Faccincani Politecnico di Milano

DOI:

https://doi.org/10.54103/2039-9251/18550

Abstract

Do black-and-white and colour photography really represent two different and complementary expressive languages? Or is one merely a mirror of the other, in that we 'see' colours even where they are apparently not present? Our brain reconstructs them even in their absence: cones and rods in the retina operate simultaneously and not alternately, and visual memories influence the decoding of shades of grey in a chromatic key.

Black and white are nothing more than the two (unreachable) extremes of a continuum and are therefore fully part of our coloured world. All the various, unnamable as they are in fact indiscriminate, hues contain the so-called achromatics that delimit, both perceptually and psychologically, the space of colour and our way of relating to it.

Riferimenti bibliografici

Arnheim, R., Perché sono brutti i film a colori?, in “Scenario”, V/3, marzo 1936, pp. 112-114.

Barthes, R., La camera chiara: nota sulla fotografia, tr. it. di R. Guidieri, Einaudi, Torino 1980.

Ėjzenštejn, S. M., Il colore (1982), a cura di P. Montani, Marsilio editore, Venezia 2001.

Frova, A., Luce colore visione, Editori Riuniti, Roma 1984.

Ghirri, L., Lezioni di fotografia, a cura di G. Bizzarri e P. Barbaro, Quodlibet, Macerata 2010.

Kelly, K. L., Dictionary of Color Names, University of Michigan Library, Ann Arbor 1976.

Sacks, O., L’isola dei senza colore, tr. it. di I. Blum, Adelphi, Milano 1997.

Wittgenstein, L., Osservazioni sui colori, tr. it. di M. Trinchero, Einaudi, Torino 1982.

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Pubblicato

2022-08-08

Fascicolo

Sezione

Color. Photography, Image, Reality (ed. by L. Bertelli, G. Gambaro, A. Mecacci, M. Sessa)