Simultaneous contrast

You are here: Nature Science Photography – Lightness and color – Opponent color combinations in image composition

We have already encountered simultaneous contrast in the sections
„Second processing stage – transforming signals into opponent color channels“ and
„Third processing stage – adding a spatial aspect for color„. In those sections, we also delved deeply into the neurophysiological basis of simultaneous contrast. It arises because the visual system virtually demands the respective complementary color for a given color. Thus, gray areas bordering on colored areas seem to be colored in the complementary color, which results in an increase in contrast. If we look at a red bar first on an orange surface, then on a violet surface, we have the impression that red is darker and more brownish in the orange field. The appearance of the same colors can vary depending on the background color. Bright colors on saturated background areas have the strongest simultaneous effect. You can counteract this effect by adding the corresponding color, or intensify it by removing it. Although we typically only perceive simultaneous effects unconsciously, they significantly influence the B/W area. Along with complementary contrast, simultaneous contrast is considered the most important influencing factor in the interaction of colors.

Closely related to this is successive contrast, also called following contrast. It produces a complementary afterimage. For example, if you look at a violet surface for a long time and then quickly look at a white surface, the latter appears to glow in the complementary color yellow. This effect also occurs with black and white. In the case of gray values, the simultaneous contrast is the only contrast other than the successive contrast, which also persists in the perception of light and dark. Here it acts on the one hand as an area contrast and on the other hand as an edge contrast.

Next Quality contrast

Main Lightness and Color

Previous Color in itself contrast

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