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Product details
File Size: 13625 KB
Print Length: 238 pages
Page Numbers Source ISBN: 0520089499
Publisher: University of California Press; 1 edition (May 18, 1995)
Publication Date: May 18, 1995
Sold by: Amazon Digital Services LLC
Language: English
ASIN: B001NCDC0Y
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Background on me: 40 years in the photo and film/video biz. Producer, director, photographer, DP (Director of Photography) gaffer (lighter).I wish I could recommend this book for instruction in lighting technique, or theory, or anything... but I can't. Oh, there's a tidbit here and there, but not much to advance anyone's lighting chops. It IS an interesting look at how motion picture lighting was executed in the 40's and 50's. But given the improvements in lighting instruments and sensors, following these directives will not yield optimum results. So many ideas here feel like "add another light." At one point we learn the 8 light method for lighting a single (one person.) Wow!Ask a local gaffer or DP who's work you admire if you can work for them, unpaid, as an extra pair of hands on a shoot or 3. Ask ahead of time if you can ask questions while they work. The professionals I work with would be happy to pass on what they know. And don't ignore the DPs and gaffers who are 50+. They've seen it all and will be flattered and happy that you are asking them to share their experience and wisdom.
This is the classic by John Alton. You will learn those essential theories on lighting which answer all or at least many of your questions. I've read so many books on this subject, and this is the first that really explained how to light to make it 'look like a movie.' I encourage you to purchase this. You will learn some essential theory you need to be a pro, or to understand cinematography. Even though this was written years ago, the techniques are still used today. You can see a great example of this style in Spielberg's Lincoln, and in just about every other movie made today. An essential book for the cineaste, and a good read.
I've not made it all the way through this book, however, what I have read has been great. As an independent filmmaker, it seems that the term "independent film" means "crap." I don't want to make movies to express myself in some abstract way that people associate independent with. I want to make films that are entertaining and fun to watch. I enjoy watching movies and I want to deliver the same feeling to other people. This book has helped increase the production quality of our work to help get rid of some of the "independent" look.
Lighting is maybe my worst technique and always seemed almost uninteresting to me compared to writing, editing, and directing. So I read a how to book on lighting, at the end it suggested this book to read also. That book taught technique, this book taught the art and philosophy of it. Everything from film lighting, photo lighting, to every day lighting usage. He even goes over how your eyes and brain make movies all the time without you realizing it.
John Alton knew lighting, and has a great grasp on teaching it. His book, although old, still has momentum in the basics of lighting and even a few cheap ways to make effects in photography that are applicable to this day. Even if you know all the info in this book its a great historic read to see how the masters hashed it out in the adolescence of film. He shows you the complete A-Z of motion photography from set building, character, and the powerful effect of light when used correctly.
The book was recommended by a neighbour and friend, Nico Dufort, who worked on 'Happy Feet Two', and who had duties which spanned technical and creative work on the movie. The book's author, John Alton, insisted that still photographers and cinematographers are primarily creatives. He also gives many examples of working quickly and innovatively, whilst honouring the beauty of the actors and scenes, indoors and outdoors. Mr Alton achieved an enviable list of film noir credits in particular but his range extended to various genres and to colour as well as black and white: He asserted that black and white were colours despite the orthodox classification. Mr Alton also understood the need for openness to other artistic experiences. His life spanned several continents and very different cultures and is interesting in its own right. Perhaps the greatest strength of 'Painting with Light' is the clarity and generosity of technical knowledge freely explained with diagrams and methodologies set out for different types of scenes and lighting conditions.
As a former professional stills photographer I can relate to many, if not all of the lighting discussions in this book. After all, in a way light is light. Nothing much has changed there. What has changed enormously is the move to a more natural 'lighting'., i.e. away from the very theatrical lighting often displayed as examples in this book. There is a lot of great, detailed explanation on how to light in various situations but the result is something that looks pretty dated nowadays. It is an essential book for a grounding in basic lighting, in an era, but...I don't see things lit the same way...today. And with respect to my American friends, some things are explained in a long-winded way that I got in the first couple of paragraphs. We don't need endless variations of what was just said. A lot of people have defended the book , almost religiously, as if somehow it could not possibly be less-than-prefect. Well, it probably was for the time.Just not now. It is an essential library addition, but as a go-to book...I'm not so sure.
A Classic, with great lighting explanations.
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