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PHOTOGRAPHY (COLOR) entries in Index to How To Do It Information
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Detailed entries for one subject from the INDEX TO HOW TO DO IT INFORMATION.
Click on a see also (sa) or tracing (xx) to view detailed entries about a related subject.
The entries are in alphabetical order by magazine name and then in chronological sequence.
To obtain a copy of any magazine article contact your local public library or the publisher.

PHOTOGRAPHY (COLOR)
sa   PHOTOCHEMISTRY (COLOR)
sa   PHOTOGRAPH COLORING
sa   PHOTOGRAPHIC FILM (COLOR)
sa   PHOTOGRAPHIC PAPER (COLOR)
sa   PHOTOGRAPHIC PRINT MAKING (COLOR)
x   COLOR PHOTOGRAPHY
xx   PHOTOGRAPHY

How to take good color pictures.
BOYS' LIFE Jun 1974 (v.64#6) pg. 36

Color graphics from any computer. How to achieve full-color photography from a black-and-white display using the color-separation technique.
BYTE Dec 1983 (v.8#12) pg. 380

Be your own critic. How to bracket exposures with color film and what results to expect. Knowledge of color film variables and the role of bracketing will help eliminate technical goofs. Then you can consider controlling composition, use of color and picture content.
CAMERA 35 Mar 1978 (v.22#2) pg. 19

Color on a cloudy day. A searching look at what impact cloudy days do and do not have on color pictures.
CAMERA 35 Aug 1980 (v.25#8) pg. 26

How to add color to black-and-white images using the dye-coupling (chromogenic) process.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jan-Feb 1986 (v.7#1) pg. 12

Tip: How to include a color checker in a picture when one square of the checker is larger than the subject.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jan-Feb 1986 (v.7#1) pg. 19

Color development and dye formation stages found in color photography are discussed.
DARKROOM & CREATIVE CAMERA TECHNIQUES May-Jun 1987 (v.8#3) pg. 14

Making masterful color internegatives. Part 1. Duplication principles.
DARKROOM & CREATIVE CAMERA TECHNIQUES May-Jun 1987 (v.8#3) pg. 22

Making masterful color internegatives. Part 2. Duplication procedures.
DARKROOM & CREATIVE CAMERA TECHNIQUES Sep-Oct 1987 (v.8#5) pg. 38

Making masterful color internegatives. Part 3. How to use the system when no gray/white card transparency exists.
DARKROOM & CREATIVE CAMERA TECHNIQUES Nov-Dec 1987 (v.8#6) pg. 29

Controlling color balance (when taking color slides). Part 1. Neutral balance, selective absorption. Effects of exposure and filters are viewed.
DARKROOM & CREATIVE CAMERA TECHNIQUES May-Jun 1988 (v.9#3) pg. 46
Added Info DARKROOM & CREATIVE CAMERA TECHNIQUES Sep-Oct 1988 (v.9#5) pg. 3

Controlling color balance (when taking color slides). Part 2. Metering, consistency, duplication.
DARKROOM & CREATIVE CAMERA TECHNIQUES Jul-Aug 1988 (v.9#4) pg. 26

Understanding color variability.
DARKROOM & CREATIVE CAMERA TECHNIQUES Mar-Apr 1989 (v.10#2) pg. 49

When is gray not gray? Color printing and how we see. How our perception of color prints are affected by the light in which they are viewed.
DARKROOM & CREATIVE CAMERA TECHNIQUES Mar-Apr 1991 (v.12#2) pg. 29

Make surreal color prints by photographing on infrared color slide film and then printing on paper intended for color negatives.
DARKROOM PHOTOGRAPHY Nov 1981 (v.3#7) pg. 68

Make unique pictures by sandwiching lithographic sheet film prints with colorful painted backing sheets.
DARKROOM PHOTOGRAPHY May-Jun 1982 (v.4#4) pg. 70

Fluorescent tubes which can be used for the inspection of color photographic prints are suggested.
DARKROOM PHOTOGRAPHY Jun 1990 (v.12#6) pg. 7

Four-color process work made simple. How to make color separations in your 35mm camera without the need for total darkness.
INDUSTRIAL EDUCATION May-Jun 1979 (v.68#5) pg. 48

A successful photo lab shares tips for better color processing results.
INDUSTRIAL PHOTOGRAPHY Jan 1984 (v.33#1) pg. 34

Communicating with your color lab. Save time and money by telling your lab exactly what you need. Includes tips on how to specify proportion, exposure, color, enlargements, etc.
INDUSTRIAL PHOTOGRAPHY Jan 1985 (v.34#1) pg. 26

Improving color image stability. A general discussion including some tips.
INDUSTRIAL PHOTOGRAPHY May 1985 (v.34#5) pg. 11

Color photography for reproduction. A photographer's guide to understanding the four "C's" of good printed color reproduction.
INDUSTRIAL PHOTOGRAPHY Jan 1987 (v.36#1) pg. 36

Create new and exciting color pictures using the "wrong" light with "improper" films.
MODERN PHOTOGRAPHY Oct 1969 (v.33#10) pg. 118

Really permanent color is not easy to get. The surest way is to make your own three-color separations.
MODERN PHOTOGRAPHY Nov 1969 (v.33#11) pg. 38

Create interesting color photos by placing colored plastic in front of your floodlight or flash.
MODERN PHOTOGRAPHY Mar 1970 (v.34#3) pg. 82

Tips on selecting and controlling daylight (natural light) in critical color filming.
MODERN PHOTOGRAPHY Jul 1970 (v.34#7) pg. 10

Tips on using natural color to its best advantage.
MODERN PHOTOGRAPHY Jul 1971 (v.35#7) pg. 30

Tips on improving the role of color in your photos.
MODERN PHOTOGRAPHY Jun 1972 (v.36#6) pg. 54

Discussion of color-image stability and techniques for lengthening the life of color films.
MODERN PHOTOGRAPHY Feb 1976 (v.40#2) pg. 31

New simple way to test color accuracy of slides or prints. Check film, lenses and processing yourself using the Macbeth ColorChecker Color Rendition chart.
MODERN PHOTOGRAPHY Apr 1977 (v.41#4) pg. 98

Tip: Use paint charts as inexpensive color test targets.
MODERN PHOTOGRAPHY May 1986 (v.50#5) pg. 42

Tips on overexposing to get better image quality with color print film.
MODERN PHOTOGRAPHY Apr 1987 (v.51#4) pg. 31

Photography and the purkinje shift. The effect of the purkinje shift on the perception of color under low-light-level viewing conditions.
PHOTO ELECTRONIC IMAGING Aug 1992 (v.35#8) pg. 8

Navigating the road to color photographic fidelity. Part 1. Innate characteristics of human vision and photographic films which make accurate color rendition problematical.
PHOTO ELECTRONIC IMAGING 1994 (v.37#4) pg. 34

Navigating the road to color photographic fidelity. Part 2. Aspects of color photography that you can do something about.
PHOTO ELECTRONIC IMAGING 1994 (v.37#5) pg. 28

How to use Kwik-Print materials to make color separation negatives or abstract and multicolored posterized prints.
PHOTOGRAPHIC Dec 1978 (v.7#8) pg. 42

Color. How it works and how to use it in photography.
PHOTOGRAPHIC Mar 1979 (v.7#11) pg. 74

How to make topographical contour maps (isophote maps) out of your best slides or negatives. Generate a series of high-constrast separation negatives and rephotograph thru color filters.
PHOTOGRAPHIC Apr 1983 (v.11#12) pg. 62

Taking photos which use colors as special effects.
PHOTOGRAPHIC Sep 1984 (v.13#5) pg. 56

Grain is beautiful. How to use the grainy effect of the latest high-speed color film to your advantage.
PHOTOGRAPHIC Jan 1985 (v.13#9) pg. 40

Tri-color exposures. Produce a color photo by taking three b&w photos through color separation filters.
PHOTOGRAPHIC Nov 1985 (v.14#7) pg. 68

Colorvision. Seeing the true character of color. How color, saturation and lightness evoke certain emotional responses to a photograph.
PHOTOGRAPHIC Oct 1989 (v.18#6) pg. 40

Six great ways to incorporate grain into color photos in order to achieve a more "artistic" appearance.
PHOTOGRAPHIC Aug 1990 (v.19#4) pg. 44

Tri-color trickery. How to make multiple exposures through three different colored filters to produce tricolor images.
PHOTOGRAPHIC Nov 1990 (v.19#7) pg. 79

Seeing. A special section on how to improve your ability to see good photos. Looks at color, composition, perspective, etc.
PHOTOGRAPHIC Sep 1992 (v.21#5) pg. 55

Tri-color. New thoughts on the three-filter technique show how to get predictable results and produce exciting new effects.
PHOTOGRAPHIC Jan 1995 (v.23#9) pg. 40

How to make color photos using the three-filter (tri-color) technique.
PHOTOGRAPHIC May 1997 (v.26#1) pg. 45

How to photograph green-color objects using a point-and-shoot camera.
PHOTOGRAPHIC Mar 1998 (v.26#11) pg. 30

Digital enhancement and color correction of photographs. Some tips on getting started.
PHOTOGRAPHIC Jul 1999 (v.28#3) pg. D14

How to choose and use a processing laboratory.
PHOTOMETHODS May 1976 (v.19#5) pg. 23

Using the Macbeth ColorChecker color rendition test target.
POPULAR PHOTOGRAPHY Jul 1977 (v.81#1) pg. 12

Techniques for preventing overall blue cast in color pictures taken outdoors during the winter.
POPULAR PHOTOGRAPHY Jan 1983 (v.90#1) pg. 18

How to control contrast when taking color pictures in order to make better color prints from slides and negatives.
POPULAR PHOTOGRAPHY Feb 1985 (v.92#2) pg. 17

Less is more. How to use soft colors to make a strong visual statement. Various techniques for softening the brilliant color recorded by modern films.
POPULAR PHOTOGRAPHY Apr 1987 (v.94#4) pg. 38

Advice on selecting equipment, film, and lenses when shooting color indoors.
POPULAR PHOTOGRAPHY May 1988 (v.95#5) pg. 20

Zoom in on tricolor. Shoot through three filters and you can be a brushless color painter. How to make unique tricolor photographs using a zoom lens.
POPULAR PHOTOGRAPHY Sep 1990 (v.97#9) pg. 52

Tips on minimizing the green tint caused when taking color pictures indoors under fluorescent lights using a point-and-shoot camera.
POPULAR PHOTOGRAPHY Oct 1990 (v.97#10) pg. 34

Six tips for improving color photos at the time they are taken.
POPULAR PHOTOGRAPHY Jan 1999 (v.63#1) pg. 22

Wheel your way to vibrant color. Using an artist's color wheel may improve your ability to "see" a good color photo opportunity.
POPULAR PHOTOGRAPHY & IMAGING Apr 2003 (v.67#4) pg. 82
Added Info POPULAR PHOTOGRAPHY & IMAGING Jun 2003 (v.67#6) pg. 28

The psychological effects of color. How the use of color influences photographs.
RANGEFINDER Jan 1990 (v.39#1) pg. 30

Experiments with Edwin Land's method of getting color out of black and white by making black and white transparencies through color filters and then projecting them superimposed on a screen with a single filter. Includes a Color Checker chart to use in the experiments.
SCIENTIFIC AMERICAN Jun 1979 (v.240#6) pg. 189

When good prints go bad. How to track down and solve your color print problems.
SHUTTERBUG #366 Mar 2001 (v.30#5) pg. 118