Haze “Chloe Idille” (1811) – Salomon Gessner & Carl Wilhelm Kolbe See also: 5 Ways to Use Hard Light Through a Window While lighting the subject of the shot is clearly a DP’s priority, it’s important to find time to paint in the surroundings even if they’re in the deep background or extreme foreground. Here it anchors the corner of the composition and gives us a hint of the room’s decor, adding interest to what would otherwise be a black void behind Guismond. It may seem trivial, but a little stroke of background light like this can really elevate the quality of a shot. What caught my eye about this painting was the slash of light on the background wall in the top left corner. See also: Lighting Techniques #6: Cross-lightīackground strokes “Tancred’s Servant Presenting the Heart of Guiscard in a Golden Cup to Guismond” (circa 1675) – Adriaen van der Werff See how the light from the window in the background throws the model’s body into relief, giving it form and dimension? Cross-light is commonly used today in commercials for sport and fitness products, to emphasise muscle tone. Without artificial illumination, these old masters had to make the most of the light God gave them. Here are five examples of their techniques which we can trace directly forward to cinematographic techniques of today.Ĭross-light “Mornington Crescent Nude” (circa 1907) – Walter Richard Sickertĭecades before DPs started encouraging directors to shoot interior scenes towards windows to achieve the most interesting modelling, Sickert had the same idea. This time I’m looking at the use of light, and I’m broadening the scope to cover a few other classical artists whose works have caught my eye at galleries lately. A few weeks ago I discussed compositional techniques which we can learn from the work of JMW Turner.
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