Plate 1 A colour wheel showing the complementaries of the main colours Similar

Plates 2 and 3 A small saturated colour such as red against green has a greater impact than when it is placed against a lower illuminance colour such as blue

Plate 4 Using a monochrome viewfinder the subject of the shot – a red flower against green foliage, almost disappears and the shot would be tightened in an effort to emphasize the flower

Plate 5 The same shot displayed in colour provides sufficient separation between flower and background. The defocused orange aubretia creeping into the right of frame, unseen in a monochrome viewfinder, becomes more noticeable and could have been eliminated by camera repositioning or tightening on the red flower if the montbretia could have been seen in the viewfinder

Plate 6 This vegetable pack shot framed up in monochrome is disorganized and messy because the colour component of the shot is unable to be utilized

Plate 7 A tighter shot that relies on colour for its composition could be framed if the colour values were available in a colour viewfinder

Plate 8 Rembrandt's self portrait –as the Apostle St Paul. Courtesy of RIJKS Museum, 2002.