Why We Need Light

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Why We Need Light: IntroductionWritten By: Ryan Patrick O'Hara

Since the dawn of cinema, light has been needed to bring

motion pictures to life. Light not only allows the image to be

initially captured, but is needed once more to bring theimagesbackto life upon the big-screen. Light, at its most

basic function, must properly illuminate the subject of

photography at the requirements determined by the medium used.

Although light is the fundamental element needed to make

motion picture films, the use of light reaches far past the

realm of necessity.

There are three things lighting has to do. It has to provide for sufficient

illumination to record the image on film. It has to make up for the

difference in contrast between our eye and the film. It has to enhance the

illusion of third dimension in a two dimensional medium... Ok. Well that iswhat it hasto do. What it cando

-Bill Dill, ASC(From Cinematographer's Style)What canlight do?Illumination for the sake of proper exposure is simply a

technicality.

The way the older cameramen worked was first theyd get a long shot of the

set, showing a character entering and walking over to a desk, say. Thentheyd move in to a closer shot. To avoid the lighting being too

symmetrical they might use a couple of arcs on one side, and three on the

other. That was all. Otherwise the image was absolutely flat, just a flood

of light. There was no attempt at artistry. There were some cameramen who

used to keep a book, and theyd note down the lighting theyd used how

many arcs, how many feet away from the actors- so when they got to the next

set they could refer to the book and do the same. You couldnt really call

it lighting, it was just illumination.- Freddie Young, BSC.From Seventy Light Years; A Life in the MoviesBeyond basic illumination, simply possessing a comprehensive

knowledge of lighting technique does not constitute anindividual as a true cinematographer. Knowing basic lighting

techniques such as a back cross-key or three-point interview

lighting still falls within the realm of a technician. To

become a true cinematographer, an artist andtechnician, one

must look beyondhowto light and think about why.

If someone says to me, 'I loved that shot, how did you light it?', I'll

think they've lost the point. My explanation doesn't mean a thing because

there are 20 ways to light a shot and get the same result. Why you do

something is far more important than how."- Freddie Francis, BSC.From American Cinematographer, Cinematic Glory by David E.Williams (March 1998)


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Among the many responsibilities of a cinematographer, lighting

is a primary method in which one can establish visual subtext

within the story. Light can heighten or diminish shape and

depth, direct or misdirect attention, balance or unbalance

composition, establish atmosphere, evoke emotion, reveal stateof mind, and more. The aesthetic uses of light are endless and

overlapping.

Lighting decisions must always be made with the utmost

consideration for the story. The lighting and visual

philosophy of every image must support and further the story

providing appropriate mood and emotion. Creating exquisitely

beautiful or ethereal imagery throughout a picture is a common

temptation for any cinematographer. When hired and asked to

perform his/her duties, some can lose sight of story and

simply wish to impress with their skill and ability to light abeautiful scene. But often times a story will call for

the opposite a futile mood, dull moment, or bleak existence.

In which case the story may benefit from bland, unappealing or

ugly photography. A film simply cannot be comprised of only

sunsets and silhouettes. A professional and passionate

cinematographer will find the beauty in ugly, the emotion in

bland, and the strength in the stark. A cinematographer

realizes the absence of beauty may be wielded with the same

success as images with and then must decide, with utmost

understanding, which suites the scene best.

There are no rules and there is no formula to filling the frame to please

everybody. I've got this corny saying though: 'There are three types of

photography: good photography, bad photography, and the right photography.

The right photography is what tells the story best.-Freddie Francis, BSCLighting isContrast.Contrast is a visual property in which juxtaposed qualities

can be distinguishable from one another. In the film world,

contrast is mainly referred to as the difference between light

and shadow. The cinematographer uses light to create contrast;

contrasts that may heighten or diminish shape, depth, direct

attention, establish mood and more. In film, not only can

light and shadow be used to create contrasts, but the color of

light may create their own contrasts as well. For the Why We

Need Lightarticle series, the term contrast will be used to

reference the difference between light and shadow.

The methods and techniques described hereafter in the Why We

Need Light series may be used in the opposite effect or in

absence of, in order to achieve the reverse visual outcome.

The cinematographer is always at the storys service and


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mercy. If a picture is worth a thousand words, imagine the

vast lexicon the cinematographer wields in the visual

language.

End of Part One: Why We Need Light: IntroductionWhy We Need Light: MoodWritten By: Ryan Patrick O'Hara

The cinematographers most fundamental and primary objective

when lighting is to create an atmosphere that supports the

overall mood of the scene. Although a films mood is the

summary of many wide-ranging efforts from all departments,

lighting is arguably the most influential visual element.

Absolutely all approaches and techniques of lighting discussed

in the Why We Need Light article series (with the exception

of rudimentary illumination) must work in concert with,

conform to, or be rationalized by the mood. Mood is the

driving visual device of any story.

Achieving appropriate mood is a difficult task. Every scene is

unique and requires an adaptive approach with scores of

possibilities. A lighting approach that may make one scene

foreboding can turn another cheery; its a careful balance oftaste within context. A cinematographers ability to recognize

the appropriate mood and successfully execute those feelings

and emotions with lighting is where the artist meets

technician. It is almost impossible to teach mood. Sure, there

exist some very basic conventions such as dark is heavy or

dramatic while bright is cheerful or light. But exceptions

take you at every opportunity and conventions are usually the

most safe and less expressive road to travel. To truly

understand mood and its' always uniquely demanding constructs,

a cinematographer depends on his artistic instinct, life

experience and personal taste.

Successfully lighting for the appropriate mood is a very

intuitive process. When reading theWhy We Need Lightseries,

keep mood in mind. Try to imagine how each technique and

approaches to lighting can change mood in different

circumstances.

End of Part Two: Why We Need Light: Mood

Why We Need Light: Shape & DepthWritten By: Ryan Patrick O'Hara


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At their basic function, motion pictures are two-dimensional

images projected upon a two-dimensional screen. Thankfully

enough, illusions within the human mind allow the audience to

perceive visual depth within the two-dimensional medium. Using

light, the cinematographer may manipulate an audience'sability to perceive depth, by enhancing or diminishing the

illusion.When light is used to manipulate the illusion of the third

dimension on a subject by defining form, volume, and mass it

is defined as altering shape. However, when light is used to

manipulate the illusion of the third dimension by defining

scale, proportions, or spatial relationships of an environment

and its subjects it is defined as altering depth.

The Illusion of ShapeA cinematographer can heighten or diminish the illusion of

shape by positioning the lighting unit(s) at advantageous

angles as to heighten or diminish the contrasts that appear

upon the subject as a result of how light plays across the

surface and reveals form. Lighting for shape allows the

subjects form to be defined by light and shadow, producing

giving the object form and hence adding to the overall

illusion of depth on screen.

The Italian word chiaroscuro(chiaro [light] + oscuro[dark]) describes the artistic means of using light and shadow

to reproduce the illusion of shape; emulating and exaggerating

(for various dramatic effect) natural occurring contrasts of

light falling upon a three dimensional subject. Just as

classical artists use light and shadow to bring shape and

depth to their creations, the trained cinematographer must

consider using light to define shape in his/her images.

Caravaggio St. Jerome (San Girolamo) 1607.


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Gerrit van Honthorst De koppelaarster 1625.

De Koppelaarster, below, is another painting by Honthorstcompleted within the same time period. Notice the variations

in lighting direction and resulting contrasts. Observe how the

changes influence the painting. Compare the shape, weight and

mass of the subjects from each painting.

Gerrit van Honthorst The Steadfast Philosopher 1620-1629.Shape is manipulated by the careful placement of lighting in

relation to the subject and camera (viewer). The placement

will determine whether the light will heighten or compress the

illusion of form and mass. Light falling upon a subject from

the direction of the camera will generally render as 'flat'

lighting. As the light source moves away from the cameras

angle of view, the contrasts between highlight and shadow

should increase until the subject becomes side-lit, top-lit or

eventually back-lit.


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In an excerpt from Television: Companion to the PBS

Television Series (1988), director of photography Gerald

Finnerman, ASC discusses the popularity of color television in

the 1960's:

At that particular point, everybody said, 'Well, you have to take a lightover the lens and 'flat light' color. Light everything.' Even the networks

wanted you to light everything. Color would take care of itself-the shades

of reds, greens, and blues would all take care of themselves and blend, and

you'll have a nice-looking picture.

But the old times, like Harry Stradling, James Wong Howe, Ernie Laszlo,

Charlie Lang, would always go back and say, 'In the forties, when I was

shooting black-and-white, you could only get dimension one way.' And that

was by crosslighting and halftones. They stuck to the ways of the thirties

and forties and still continued to light color as they would black-and-

white, which wasn't as safe, but it certainly was pretty. They were the

ones who were getting the dimensions when everything else was being flat

lit. So I pretty well stuck to the theory of crosslighting, trying to getdimension. ...That's the way I was taught.

-Gerald Finnerman, ASC.In addition, the American Cinematographyarticle

Photographing Stanley Kubrick's Barry Lyndon (March 1976),

features director of photography John Alcott, BSC discussing

his need for additional shape/depth within the film:

"...Actually, we had talked about shooting solely by candlelight as far

back as '2001', when Stanley was planning to film "NAPOLEON" but the

requisite fast lenses were not available at the time. In preparation for"BARRY LYNDON" we studied the lighting effects achieved in the paintings of

the Dutch masters, but they seemed a bit flat - so we decided to light more

from the side."

- John Alcott, BSCA rudimentary 3-D image (below) replicates the human face in a

three-dimensional space. The subject is illuminated with a key

light positioned on the camera axis. This direction of

illumination causes the shadows (thus the lighting contrast)

to mainly fall behind the subject, invisible to the camera.

The result is a relatively even-lit subject... otherwise known

as 'flat' lighting:


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In the following set of images, the key light has been moved

away from the camera axis and around to the subjects 'away

from camera' side of face. With lighting contrast more

apparent, information relative to the shape of the subject is

revealed; hence a two-dimensional surface gains visual

properties of a three-dimensional form. Shape is perceived.

Coincidentally, the lighting is more motivated and the mood

more unified with the scene. Two additional, yet smaller,

kickers have been added to the scene; the first to

illuminate some detail around the shadow side edge and the

second to add a red glow which is motivated by the night scene

lighting.


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Both methods of lighting are acceptable, depending on the

aesthetic feeling and desired look of the story. Generallyspeaking, the off axis lighting (second series of images)

creates a contrast of lighting which suggests greater

shape/depth within the picture. In this case the lighting

direction and contrast of the second set of images is the

right one for the scene and is more aesthetically pleasing.It is important to reiterate the uses of light are plentiful

and overlapping. Many techniques for lighting used to

accomplish one purpose may be used again or in a similar way,

to also achieve another photographic purpose. For that reason,

a portion of discussed lighting techniques may be covered inmultiple articles within the series or may simply reference

them. Lighting is an artistic endeavor with undefined walls

surrounding a vast area of gray. It is an area where good and

bad do not exist; there is only right and wrong.The Illusion of DepthSuccessfully creating depth within a two-dimensional medium

means the image must strongly suggest or define the space

within the scene by creating illusions of distance between

foreground and background elements. Although camera placement,

composition, lens selection, camera movement, and blocking are


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all elements within a cinematographers domain that may

influence the illusion of depth, lighting is paramount.Lighting in Layers:Among all the different lighting

techniques, lighting in layersis possibly the most successful

and commonly used to increase the illusion of depth within ascene. Lighting in layers is the alternating of lit and shadow

areas receding or advancing through the depth (z-axis) of a

scene. The contrasts of light and shadow create pockets of

light that may define areas of a scene. By establishing visual

reference points within a scene, such as its light here, but

dark over there, the cinematographer can enhance the illusion

of depth as the light is now defining distance, relative

positions, and dimensions of the physical space. These aides

help the human brain create an idea of the space in three-

dimensional terms, although only seeing a two-dimensional

image.Within the lighting in layers approach, it is often practice

to darken the foreground and background elements in comparison

to the lit subject, which usually falls somewhere between the

two. This lighting technique not only establishes the light as

being here and not there, but creates subject-background

separation as well. The visual contrast between lit subject

and darker background results in the illusion where the

subject will appear to pop away from the background. These

alternating contrasts can continue at any amount, distance, or

spacing.In the following images, imagine if the subjects or

backgrounds were lit to the same luminance levels as their

respective foreground and/or background elements. Would the

images still possess the same amount of depth or would they

blend in, lacking separation and creating a flat two-

dimensional image?

Pulp Fiction (1994)


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The Virgin Suicides (1999)

Titanic (1997)

Atonement (2007)Although not as common, lighting in layers with the

alternating layers of shadow and light falling in the oppositepattern may be desirable for a scene. This leaves the subject

or area of interest less lit or within shadow.


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The Departed (2006)

Unbreakable (2000)

Sweeney Todd (2007)

Munich (2005)


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Autumn Leaves (1956)

Of course, lighting in layers does not require the layers to

be uniform or consistent in luminance across the x-axis.

Because the illusion of depth is solely related to the visual

z-axis, lighting in layers is only important and defined bycontrast alternations that fall forward and/or behind. So long

as the lighting establishes a hereand therewithin the

scene, the illusion of depth is heightened to some degree. One

can light in layers and within those layers, alternate

contrasts. This trick was often used in the days of black &

white cinema when tonal separation was more crucial due to the

lack of color contrast. Cinematographers would incorporate the

shadow side of a face juxtaposed against a lit background,

while the lit side of the face would be juxtaposed against a

darker background. This approach is a good example on how

lighting in layers does not have to necessarily remain uniformin luminance within each layer so long as the

advancing/receding layers in the z-axis are contrasting.

The Man Who Wasnt There (2001)


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Good Night, and Good Luck (2005)

Atonement (2007)

There Will Be Blood (2007)

Fat City (1972)


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Apocalypse Now (1979)

Pools of Light: Another technique referred to as pools of

light, is another similar variation of the lighting in layers

method. Pools of light are visual devices that help heighten

the illusion of depth and may even lead the viewers eye along

a compositional arrangement. Pools of light are like lightingin layers, but tend to be in smaller portions and more

selective in nature.

Pools of light are an excellent example of light defining

space. Pools of light selectively highlight certain areas of a

space, defining a here and there and helping create a

spatial relationship between them and thus of the scene.

Imagine the following environments had the lighting not been

broken up into receding or advancing pools of light and

shadow. The feeling of depth receding or advancing within the

scene would be greatly diminished!

Almost Famous (2000)


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Harry Potter and the Order of the Phoenix (2007)

The Conformist (1970)

Raiders of the Lost Ark (1981)

Apocalypto (2006)Techniques such as lighting in layers and pools of light also

may be used to emphasize movement within/through the scene.

When a character moves in and out of the light, letting the

contrasts change, the movement is emphasized and re-enforced.

It is visual confirmation the character is physically moving

through and interacting with the environment.Consider the chase scene from The Dark Knight. The intense and

quick zipping through the pools of light created by the street

lamps offer a more exciting, dramatic and emphasized movement

through the space. This is discussed further in the Why We

Need Light series within theLighting in Motionarticle.


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The Dark Knight (2008)

Located at the very distant end of the lighting in layers

spectrum lurks the silhouette. Although more useful astechnique aimed to direct attention, the silhouette does

establish a strong foreground/background relationship

therefore the illusion of depth is heightened to an extent. As

a generality, a silhouette is likely to be a foreground

element/layer that does not receive much (if any) light. The

background, in turn, will be illuminated to a greater degree.

The Assassination of Jesse James (2007)

Blade Runner (1982)


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Close Encounters of the Third Kind (1977)

Road to Perdition (2002)

Manhattan (1979)

LA Confidential (1997)(flashbulb temporarily creates a reverse silhouette!)

Atmospheric Haze: An often-overlooked technique linked to the

illusion of depth is one that is related to but not directly

lighting. The natural occurrence and/or intentional creation

of atmospheric haze can increase the illusion of depth in a

compounding 'layered fashion.' Although not a typical lightingtechnique, haze is a unique type of gobo that can be used with


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great success in concert with lighting.The term haze simply describes the optical effect of light

passing through particulate matter floating in the air or

water diminishing visibility. Atmospheric haze can be created

by means of fog, smoke, snow, dust, rain, ash, moisture, steamand/or similar elements. Reflected light, (light seen by the

human eye or camera), must travel through these elements and

upon doing so, become scattered in the atmosphere. The

scattered wavelengths of light reduce apparent contrast and

saturation to the distant observer. Deep blacks become milky

and color dulls.

Subjects succumb to the effects of haze at a compounding rate

as distance increases from camera. When distance increases,

the reflected light must travel through more particulate

matter and will further scatter through the atmosphereincreasing the optical effects of contrast and saturation

loss. Because the effects of haze increase with distance, haze

can be a dramatic visual gauge of depth. Not only can haze be

used to determine spatial relationships and distance, but

foreground elements appear to pop when juxtaposed to the

reduced contrast backgrounds.

Black Hawk Down (2001)

The Departed (2006)


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Blade Runner (1982)

Slumdog Millionaire (2008)

Apocalypto (2007)

Children of Men (2006)


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Manhattan (1979)

The Lodger (1927)

All of the previous lighting techniques are methods acinematographer may use to increase the illusion of a three-

dimensional world within a two-dimensional image on a two

dimensional surface. Anytime lighting defines a here and

there, depth is perceived.The following image was explicitly designed to lack lighting

contrast between foreground and background elements. The use

of soft frontal lighting leaves spatial relationships

relatively ambiguous and undefined. It lacks shape and depth.


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Garden State (2004)A simple darkening of the background, by a moderate amount,

demonstrates how lighting contrasts can heighten the illusion

of depth. Notice the subject seems to pop from the wall. The

subject appears as being closer to the camera than the wall. A

small but significant lighting change added quite a bit of

apparent depth to an otherwise depth-less image. The previous

lighting techniques discussed to heighten or diminish the

illusions of shape and depth are just a few ways acinematographer can use lighting to his/her advantage when

creating visual subtext to story.

Separation without illumination:When a dark subject is

juxtaposed upon a dark background, the edges of the subject

will bleed into the background due to a lack of lighting

contrast to define them. If such an effect is desired,

allowing the subject become lost in the background, this is

perfectly acceptable.



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However, in most photographic situations, the cinematographer

will likely desire sometype of lighting contrast to define

shape/form and separate the subject from its background. The

techniques discussed thus far have proven effective in doing

this, but if the cinematographer working within the shadow endof the illumination spectrum desires the subject and

background to remain similarly illuminated, he/she should not

utilize those techniques.In this situation a rim, kicker and/or backlight are

approaches that may define a subjects shape/form, yet not

further illuminate the subject from the desired levels. These

lighting units are positioned from an opposing angle from that

of the camera. The resulting effect is a thin highlight, edge-

light, or halo, which offer definition without significant

subject illumination.The following images contain subjects and backgrounds with

similar illumination levels. In order to define shape and

remove the subject from the background, the addition of rim,

kicker, or backlights have been introduced to define edge,

form, shape and separation.

Munich (2005)

The Shawshank Redemption (1994)


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Aliens (1986)

The Aviator (2004)

LA Confidential (1997)Without rim, kicker, and/or back lighting, the shape and form

of these subjects would be unclear and lost within the

background. Thus now, the overall illumination of the subjectsremains virtually the same yet the audience can better

understand their shape, form, and spatial relationships.

Light: Direct AttentionWritten By: Ryan Patrick O'Hara

Just as a magician must direct and misdirect attention during

an illusion, the set magician, the cinematographer, must also

carefully utilize his craft to guide the viewers eye to

manipulate and engage the audience's attention to specific and

desired parts of the image, whether it is direct, reveal,hide, misdirect or distract for the purpose of storytelling.


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In the documentary, Cinematographer's Styleby Jon Fauer, ASC,

cinematographer Richard H. Kline, ASC discusses directing

attention within the frame:

"...When you look at the screen, you have your imagery. It's not just to

look at the screen. You gotta make the audience look at some part of that

screen that's important... where the dialogue is going on... in a sense it

is precision lighting."-Richard H. Kline, ASCIn an excerpt from the American Cinematography article Leader

of the Pack (Sept. '98), Interviewer Caleb Deschanel, ASC

discusses lighting with Conrad Hall, ASC:

Deschanel: Your lighting always feels real, but in many shots, there'soften light in a particular place that draws the eye to the key element in

the story. It's as if you're using light to make the audience understand

where to look in the frame.Hall: Again, it's like working on a canvas. I look through the ground glass

and when I'm putting things together, I'm filling in the important aspects

of the story which have to be told in that shot. Whether that means keeping

the characters dark and lighting the background, or whatever else, the

story is telling me to hide or illuminate something.... I just try to feel

it and illuminate this and hide that- to add a gasp here and a surprise

there. It's a visual language that allows the audience to feel and

understand the story.Manipulating an audiences attention may be accomplished inmany ways including composition, selective focus, lens

selection, art direction, blocking, and so forth. However, of

all the ways to direct attention, lighting is a very effective

method. Lighting to direct attention is almost entirely

contributed to contrast: Light and Shadow.

When the human eye scans an image, there are many specific

visual properties that instinctively attract attention. These

parameters include but are not limited to, contrast, color,

size/scale proportions, leading lines, and movement. How these

elements are manipulated will heighten or diminish theireffectiveness to draw the eye. The effectiveness is highest

when contrasting relationships are established within the

frame. Although the term 'contrast' can be applied to any

visual property in which a juxtaposed difference is

discernible, the term within this article will mainly

reference the value between light and shadow.

Within the human eye, the retina is made of rods and cones.

There are around 120 million rods within the retina. The rods

are much more numerous and sensitive compared to the cones,

however they cannot see color. Rods are mainly responsible forseeing contrast, low light, and peripheral vision. The cones


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are primarily packed within and around the center of the

retina in an area called the fovea centralis. They are

primarily for seeing color and high amounts of detail.

Overall, a large percent of human vision is dedicated to the

ability to observe contrast and values of luminance. Perhaps

this may be the reason some camera models and professionalvideo compressions allow each pixel its own luminance value,

but tend to compress color space. Only starting now is 4:2:2,

4:2:0, or 4:1:1 finally being replaced with 4:4:4.

Understanding how the eye works, it begins to become clear why

contrast instinctively catches the eye so efficiently when

scanning an image. In fact, the eye can be attracted or drawn

at various speeds and effectiveness depending on the criteria

of the contrast. There are three main attributes of contrast a

cinematographer can manipulate that determines how effectively

the eye is drawn to a portion of the image:

Amount of contrast: As values of highlight and shadow

increasingly move opposite from each other towards pure white

or pitch black, the contrast increases between them. Greater

amounts of contrast will attract the eye with greater success

and speed than lesser contrast. This does not mean elements

within images with less contrast do not attract the eye, but

simply if greater and weaker contrast changes lie within the

same frame, the area with a greater contrast area shall

predominately attract the eye.

Transition of contrast: Although both a hard and gradient

transition between contrasting values may be used, a hard or

sudden transition has proven to be more effective in initially

attracting the eye. Gradual gradients tend to smooth the

transition into a more fluid, less jarring visual. Gradual

transitions can attract a viewers attention, but not as

quickly.


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Proportions of the contrast: Relative proportions of the

contrasting values often aide the eye into believing what is

the subject of interest and what is the negative space within

the frame. A black dot on a white background is just that... a

black dot. Since the dot is an easily recognizable geometric

shape and is proportionality dominated by the white, we assumeit is the subject of the frame. Proving the theory, the same

applies when the two values are reversed.

The following image is an example of contrast proportions

within the frame. This recognizable illusion has two of the

three optimal qualities that are most effective at immediately

attracting attention. It has the greatest amount of

contrasting values and a hard transition, however it is well

known that this illusion fails to consistently draw the

viewers eye to the same element. Quickly upon first glance,the mind will determine which value is the positive area and

which is the negative space. Because the proportions of the

two values are quite similar, the mind has greater difficulty

determining on which to focus and look at. This is why some

viewers will see a vase at first glance, while others see two

faces.


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(Note this image may be bias depending on the display background. A white or black background will

greatly influence the results)The following series of images demonstrate the importance of

lighting contrasts and its power to draw the eye. At a

glance, one can find just how quick and instinctive the mind

calculates its attention.


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The area that desired to draw the viewers eye has been further illuminated as to create a contrast

to the others. The contrastamount, transition, and proportion within the frame help lead

the eye to the designated shape during the initial scan.Utilizing the three properties of contrast (outlined above)

the cinematographer may use those properties in varyingamounts and approaches to create powerful images within the

frame. The following are cinematic examples of using all three

properties to great success... almost maximizing the three

properties of contrast. These images hold very powerful and

memorable places in the mind.

The Big Combo (1955)


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E.T: The Extra Terrestrial (1982)

Days of Heaven (1978)

Road to Perdition (2002)The modern cinematographer has countless techniques and

approaches to manipulate contrasts of light and shadow in

order to draw the viewers attention to a desired portion of

the frame.

Lighting in Layers: As thoroughly discussed in the Shape &

Deptharticle, lighting in layers is one of the most commonly

used and successful ways of manipulating an audiences senseof the third dimension by creating the illusion of spatial


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relationships with lighting. By doing so, contrasts are

created, resulting in separation of subject-background,

subject-foreground, and/or both. Additionally, this created

contrast is almost equally powerful in guiding/directing the

viewers attention. Thus, the cinematographer may use lighting

in layers to not only add or reduce depth within a scene, butadditionally draw the viewers eye to or away from certain

areas of the frame. The following images are cinematic

examples of such lighting. Notice how contrast changes in

lighting throughout draw the eye with greater ease and speed

compared to if the subject, foreground and background were of

equal reflective light values:

Casino

Across the Universe (2007)



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Pride & Prejudice (2005)

The Departed (2006)Just as silhouettes are described as the extreme form of

lighting in layers, silhouettes are similarly at the extreme

end of effectively attracting the eye. Silhouettes exemplify

two and sometimes all three of the ideal properties of

effective qualities of contrast to attract the eye. The

greater the silhouette contrast, sharper the transition, and

disproportioned within the frame, the more successful the

effect.

Jarhead (2005)


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LA Confidential (1997)

Atonement (2007)

Across the Universe (2007)

Slumdog Millionaire (2008)

Atmospheric haze: Although atmospheric haze is an elementstrongly tied to the illusion of depth, the natural occurrence


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or intentional creation of atmospheric haze is also an element

that can be used to direct the viewers attention. Because

lighting contrasts are reduced as the level of haze or subject

distance increases, elements placed closer to the camera will

have greater amounts of contrast and thus attract the eye.

Black Hawk Down (2001)

The Thin Red Line (1998)

Gangs of New York (2002)

The Prestige (2006)


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Apocalypse Now (1979)Shadow or Subject?Just as silhouettes are effective, the

contrasts of cast shadow falling upon surfaces creates

dramatic imagery which can be manipulated to draw the viewers

attention to a specific area of the frame, reveal storyinformation, or portray actions without necessarily showing

them. It is a use of lighting to lead the viewer, but many

times the shadow becomes the subject!

Unlike silhouettes, cast shadows are not the extreme of

lighting in layers. The shadow and background surface fall

exactly on the same plane. The following are examples of

contrasting values because of deliberate shadows:

Nosterafu (1922)


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Elephant Man (1980)(The shadow is used to hide/prolong the reveal of the grotesque Elephant Mans while still 'showing'

him. The shadow suggests a figure to horrific to yet reveal and allows the audience to let their

imaginations take over.)

Bugsy (1991)(The projected silhouette is symbolic because their (an actor and actress) love is portrayed through

a projection screen; perhaps a foreshadowing that their real life love will become as great (and

eventually as tragic) as in cinema.)

The Set-Up (1949)(Time and time again, the use of shadows (projected contrasts) can take shape in ways which show

action without directly showing action. In this case, a beating can look all the worse when theaudience is left to imagine the worst.)

Pools of Light: If it was not already clear, many of the

lighting techniques that heighten the illusion of shape and

depth do so by creating contrast. Contrast being a key element

in attracting the eye / viewers attention, it is no surprise

these techniques overlap. Thus, pools of light are great

visual devices to draw the viewers attention using contrasts

in lighting. By creating proportionally small, high contrast

areas within the frame, pools of light can be used with great

success to direct attention to either a selection of the frameor lead the eye across the frame.


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From the text, Good Looking: Film Studies, Short Films and

Filmmaking, edited by David A. Sohn, (1976):

Lighting creates atmosphere. A mixture of dark shadows and pools of lightmay create a sense of unease, as in a thriller; if the lighting makes

everything bright, the atmosphere may seem more relaxed. The filmmaker can

use lighting to draw our attention to, or hide, a person or object.The following images are moderate examples using pools of

light, used to draw attention by means of contrast:

Manhattan (1979)



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Millions (2004)

Since You Went Away (1944)(Long shadows also create leading lines)

Aid in Composition: Lighting can create contrasts that may

contribute to the compositional elements of an image. Light

and shadow can balance or unbalance a frame, create leading

lines, or accentuate the established framing/composition. All

of which are techniques a cinematographer may utilize whenleading the viewers eye or directing their attention to parts

of a frame.

Unbalance/Partition a frame: One can use lighting contrasts to

either partially eliminate or divide a frame.


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Casino (1995)

Schindlers List (1994)

Leading Lines:Sharp contrasts of light and shadow can slash

across a wall, pierce through atmospheric haze, or fall

sharply across a floor. If effectively placed, these lines ofcontrast may form leading lines, a compositional element used

to ease the eye along a path to where the viewer is meant to

look. The following are a variety of leading lines formed by

contrasts of light:

The Man Who Wasn't There (2001)


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Blade Runner (1982)

Out of the Past (1947)

American Beauty (1999)


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Since You Went Away (1944)

The Edge of Love (2008)Assist compositional elements: A cinematographer can use

lighting contrasts to support and aid compositional elements

such as architecture or frames-within-a-frame to help ease the

eye to the desired area.


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The Conformist (1970)

Pride & Prejudice (2005)

Seven Years In Tibet (1997)

The Searchers (1956)


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La Confidential (1997)

The Shawshank Redemption (1994)

Phantom of the Opera (2004)Not only film: Manipulating and using contrasts of light and


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shadow to attract the eye and direct attention is used in all

mediums and many real life applications. These include but are

not limited to: theater, photography, the fine arts,

architecture, retail stores, video games, concerts,

restaurants, and so forth. From an excerpt cited from the

text Understanding Architecture, written by Leland M. Roth,the topic of using light to direct attention or reduce

distraction, within architectural context is discussed:

...Perhaps the most powerful element in our perception of architecture is

light. Louis I. Kahn insisted that there was no true architecture without

natural light. Our principal receptors for sensing the environment are our

eyes, and the light illuminating that environment is critical for the

information we receive. The perception of textures is dependent upon the

quality of light falling on the building. Moreover, light creates

psychological responses and has a strong physiological effect.In doing close, exacting work, such as sewing or reading- the eyes become

strained if there is too much contrast between high light levels in the

immediate work area and darkness in the surrounding area. Consequently, for

normal office work, a relatively high level of evenly diffused light, with

a minimum of harsh shadows, is standard. This can be achieved by banks of

fluorescent tubes with diffusing grates below them, by careful handling of

reflected sunlight, or by the combination of the two. The goal is to avoid

strong pools of light that will direct and focus attention. For other activities, the opposite effect is desired, since a strongly

focused pool of light against a background of general darkness is a highly

effective device of focusing attention. Baroque architects were especially

sensitive to this phenomenon, and in their churches they created hidden

sources of light, focusing the light on specific areas to direct attention.

Painters of the Baroque period, such as Rubens and Rembrandt, did much the

same, similarly creating areas of strong illumination to direct our

attention. Film directors also use strongly focused light to direct the

attention of their audiences, a technique they borrowed, in turn, from the

theater.As always, remember that for every technique to achieve a

certain aspect of cinematography, the opposite or absence of

that technique can be used to achieve another. An image that

forces an audience to examine the entire frame or scan with

uncertainty can be a powerful one, if appropriate to thescene.

Why We Need Light: Establish CharacterWritten By: Ryan Patrick O'Hara

Within modern society exist ideas and conventions about

lighting, which taken in context, can present subconscious or

overt commentary regarding the subjects true nature, current

state of mind, and relationship dynamics. These ideas and

visual conventions vary from culture to culture, and sometimes

greatly. However, the historical domination and influence ofWestern culture has resulted in the modern visual film


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vernacular taking that of mainly the European and American

view. Although different cultures and peoples can hold many

different ideological and cosmological ideas tied to visual

properties, this article will discuss and provide examples

that originate from an American viewpoint.

It is human nature in many cultures to associate a halo of

back-light as being angelicwhile a figure lurking in shadow

is menacingor evil. Logically, there is nothing

inherently goodabout back-lighting nor evilabout shadows.

However, these qualities do exist in the audiences mind as a

result of a collective association of cultural ideas tied to

quality, angle, and variables of lighting.

Modern cinematographers craftily take advantage of these

conventions in subtle ways. If done right, the lighting upon

an actor or subject can supply the audience visual subtext asto the characters true nature, intentions, emotional state,

and more. As always, one may use these subtle approaches in

the reverse or opposite approach, which will typically render

the opposite effect. Lighting a sadistic character or

situation in pleasingly beautiful light can further cause a

sense of unease or morbid irony; similar to the feeling one

gets when horrific visuals are played along with a

cheerful/happy song.

Angels in America (2003)


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Silence of the Lambs (1991)

Typical and obvious examples of 'character lighting' include

the lighting treatment of old studio picture actors during the

golden era of Hollywood. Leading ladies would generallyreceive the ideally beautiful frontal-soft lighting with a

nice back-light, while the grotesque villain would receive

hard, off-angled lighting. Todays cinematographers will

occasionally perform similar practices, as these conventions

still hold weight, but more often one will find it to be more

subtle and layered.

Lighting for character has three main functions, to give

insight of a characters true nature, current state of mind,

or relationship with another character. It should be noted

that lighting for character does not necessarily mean lightingthat falls directly upon an actor or subject, but possibly the

light that falls around an actor or upon the scene. Because

the latter is more about the moodreflecting character, this

article will mainly discuss light falling upon the

character/subject. However, there are ways to light

environment for visual cues about character.

Good guys wear white, bad guys wear black:Characters True Nature.

Visual cues that reveal and provide insight into a characterstrue nature are as old as storytelling. Despite modern cinema

shedding the obvious approaches of yesteryear, lighting to

reveal/support character has not. These approaches have become

increasingly subtler and refined. Additionally, this trend

compliments the ever increasing ambiguous roles of hero and

villain in todays cinema. Perhaps now, more than ever, a

cinematographer must use skill and precision to bring elements

of character alive. Through the use of light, a character can

give the aura of being mysterious, mischievous, heroic, or

otherworldly among countless other and far more complex

possibilities.


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From an article titled, Steven Spielberg and E.T.by George E.

Turner in American CinematographerJanuary 1983, Steven

Spielberg discusses the lighting and work of Allen Daviau, ASC

to portray character and emotion.

We would see him in silhouette, we would always view him in backlight,

but you would never get a good look at his face until much later in the

movie. It took many, many small, small units of light and many pieces of

aluminum foil to use as bounce cards. We were really able to mold light

with E.T., but you couldnt do it in the master shots or the lights would

show. And E.T. was really limited in movement when Allen had to make him

more mysterious, It took a lot more time to light E.T. than it did to light

any of the human beings in the movie, and I think Allen spent his best days

and his most talented hours in giving E.T. more expressions than perhaps

Carlo Rambaldi and I had envisioned, because he found by moving a light, by

moving the source of the key from half-light to top-light, E.T.s 40

expressions were suddenly 80. E.T. could not only look sad but he could

look curiouslysad. Not by the way we controlled E.T. mechanically but theway Allen shifted light.

-Steven SpielbergIt is extremely important to examine ones lighting

design withinthe context of the given scene. Nothing in

cinematography is cookie-cutter applicable; it cannot be used

interchangeably within another scene to achieve the exact same

result.

Silence of the Lambs (1991)(Face in shadow with bounce from below: ill intentioned)


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The Godfather (1972)

(Darkened eye sockets: mysterious thoughts)

Characters State of Mind.

Quite similar to true nature, lighting can give visual cues to

what is going on within the characters head during a given

moment or scene. Doing so further supports the current or

changing emotional state with visuals.

Apocalypse Now (1979)(Drifting in and out of light: wavering sanity)

Kill Bill (2003)(Despite the inability to see any expression through the helmet, Bob

Richardson, ASC achieves conveying the Brides (Uma Thurman) feelings of


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intense blood lust by using deep red lighting, motivated from a traffic

signal)Take the following example:

A character in contemplation is lit with a side-key as so one

half of the face is in lit while the other is in shadow. This

lighting, in some context variations, couldrepresent being

emotionally torn with a moral struggle or an important

decision. Taken a step further, should the person come upon an

answer and turn their head toward the light, illuminating the

entire face, it could by a visual cue that they have made the

moral choice or the right decision. After contemplation,

turning the head in the other direction as so the entire face

recedes to shadow could give the visual cue of quite the

opposite. The following images couldhave the visual subtext

of:

American Beauty (1999)(conflict of morality)

Gangs of New York (2002)(conflict of agenda)


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Casablanca (1942)(conflict of romantic interest)

This is one example of lighting that only carries the

described meaning when under unique context of the story.

There are almost countless ways to light and when coupled withthe ever-different contexts upon which they play, the

possibilities are infinite.

A very unique example can be found in the 1961 film In Cold

Blood. Shot by legendary cinematographer Conrad Hall, ASC.

Robert Blakes character is about to meet his end. While

standing at a window, he wallows in a long speech about

hopeless dreams. As the light happens to come through the

window, shadows of raindrops rolling down the window are

projected upon his face. Running down his cheek, the drops

look like tears rolling from his eyes. The emotion is visually

felt.

In Cold Blood (1961)Character Relationships & Dynamics

Lighting can also give insight, support, or present visual

commentary regarding relationships of two or more characters

within a scene. By means of comparison, the audience may be

able to pick up visual cues regarding the changing or static

dynamics within the characters relationship.

A scene featuring two characters in an argument is an


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excellent example. Both characters stand under a spotty top-

light source. When one character wins the upper hand in the

argument or becomes more aggressive, the other character could

step back and recede slightly into the shadow. Symbolically

the aggressor is in harsh forceful light, while the passive

individual is in shadow. Take a beat, throw in a scenereversal and turn the tables. Now the previous aggressor could

step back as the other regains a position in the light.

LA Confidential (1997)Building upon a previous example, the following image is from

a bit later in Casablanca. Ingrid Bergmans character joins

Bogart. However, she is not haunted or conflicted about the

past. While Bogarts character is torn with old feelings of

sadness and betrayal, she is more level headed and approaches

with a calm demeanor. Her lighting is even, direct, and

frontal. The drama and conflict lies within Humphrey Bogarts

character.

Casablanca (1942)Another interesting example of using light to supply visual

subtext on the dynamics of character relationships can be

found in the film Schindlers List. From an observation made

by J.R. Hudson on his cinema blog Cineobscure, the lightingwithin the following scene symbolically mirrors the true


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relationship between the characters, despite how they act

towards each other.

Oskar Schindler (Liam Neeson) despite his immense dislike for

SS Captain Amon Goth (Ralph Fiennes), must stay in the

captains good graces. Despite their dislike/distrust of eachother, they each stand to benefit from working together. Both

men put up an act, to some extent, to get along. The following

image is during a scene where this tension is growing. The

lighting is interesting because Janusz Kaminski has thrown a

very thick and heavy shadow across the wall. The shadow is a

powerful divide between the men and symbolic of their deep

impasse.

Schindlers List (1994)One of the most unique uses and perhaps literal of using light

and shadow to establish a characters state of mind/emotional

state is from Bram StokersDracula. The subject matter

ofDraculaallows for certain creative liberties to be taken,

which may not be afforded on other productions. One of which

is Draculas (Gary Oldman) shadow, which is free to act

separately from his physical body. In doing so, we catch a

personified glimpse of the inner desires of Dracula through

his shadow. In the image below, Draculas shadow reaches out

and attempts to choke Jonathan Harker (Keanu Reeves), who does

not notice.


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Bram Stokers Dracula (1992)

The possibilities of using light to define/reveal true

character, current emotional state or relationship dynamics

are endless. Remember, as always, these lighting techniques

can be also used to great effect in the opposite capacity to

perhaps mislead the audience or create an eerie irony on

screen

Documents

Why We Need Light