Painting With Light [Paperback]

John Alton (Author), Todd McCarthy (Introduction)

Book Description

Publication Date: May 18, 1995

Few cinematographers have had as decisive an impact on the cinematic medium as John Alton. Best known for his highly stylized film noir classics T-Men, He Walked by Night, and The Big Combo, Alton earned a reputation during the 1940s and 1950s as one of Hollywood's consummate craftsmen through his visual signature of crisp shadows and sculpted beams of light. No less renowned for his virtuoso color cinematography and deft appropriation of widescreen and Technicolor, he earned an Academy Award in 1951 for his work on the musical An American in Paris. First published in 1949, and long out of print since then, Painting With Light remains one of the few truly canonical statements on the art of motion picture photography, an unrivalled historical document on the workings of the postwar, American cinema. In simple, non-technical language, Alton explains the job of the cinematographer and explores how lighting, camera techniques, and choice of locations determine the visual mood of film. Todd McCarthy's introduction, written especially for this edition, provides an overview of Alton's biography and career and explores the influence of his work on contemporary cinematography.

Editorial Reviews

Amazon.com Review

Painting With Light was the first book on cinematography written by a major Hollywood cameraman. Published in 1949 and now put back into print, it is one of the best and most unusual books in the field. Written with good humor and full of helpful diagrams and photographs, it is certainly the most entertaining. Its technological discussions are dated, but Painting With Light remains relevant because its primary focus is on light itself and the many complex ways the camera crew can manipulate it. This new edition contains a biographical introduction by Todd McCarthy, who describes how the man who shot the strikingly colorful ballet sequence in An American in Paris also helped define the stark, haunting style of the film noir.

From the Inside Flap

"A wonderful introduction to the workings of the Hollywood system. We learn in rich and yet accessible detail about special effects, technical wizardry and gadgetry, lighting, make-up, the breakdown of crews, and filming strategies. The book is legendary and its reprint is a major event for film study."--Dana Polan, University of Pittsburgh

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Product Details

• Paperback: 191 pages
• Publisher: University of California Press; 4th Edition edition (May 18, 1995)
• Language: English
• ISBN-10: 0520089499
• ISBN-13: 978-0520089495
• Product Dimensions: 7.5 x 0.6 x 10 inches
• Shipping Weight: 1.3 pounds
• Average Customer Review: 4.4 out of 5 stars  See all reviews (24 customer reviews)
• Amazon Best Sellers Rank: #370,778 in Books (See Top 100 in Books)

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Most Helpful Customer Reviews

66 of 71 people found the following review helpful

5.0 out of 5 stars Excellent Book for Professionals July 12, 2001

By Larry D. Madill Jr.

Format:Paperback

I really had to laugh when I read the review of one film school student who was looking for books on lighting that explained how to do lighting "fast, cheap, and beautiful." In that statement lies the failure of todays film schools, and the genius of "Painting with Light".

In filmmaking we are faced with the same Paradigm that faces all industries. The pyramid = Fast, Good, and Cheap. Each of these occupies its own corner of a standard triangle. But here in lies the rub, you can only choose two: good and fast, fast and cheap, cheap and good, etc.

"Painting with Light" comes from an era were most of Hollywood understood this paradigm. Most people in Hollywood, particularly those in "Key" positions knew that good, if not great, lighting took time, and often time took money.

It's an excellent book for those that wish to know more about the general technical requirements of film. Along with "The 5 C's of Cinematography". I would also reccomend, if not require, this book for any aspiring indie filmmaker. Want to make a movie that competes with the majors? Learn what the majors know, and forget what they taught you in film school.

28 of 28 people found the following review helpful

4.0 out of 5 stars The Ideas & Techniques of An Iconoclastic Cinematographer. April 26, 2005

By mirasreviews HALL OF FAMETOP 500 REVIEWERVINE™ VOICE

Format:Paperback

"Painting with Light" is a reprint of cinematographer John Alton's 1949 book that began as a series of articles for "International Photographer" magazine. The book earned Alton appreciation among students of cinematography and the ire of those already working in the field. Students welcomed a how-to book by one of Hollywood's masters. Cinematographers found Alton lessons arrogant and too narrow, as the book advocates Alton's signature, somewhat controversial, style of using few lights. In any case, John Alton is one of the most studied cinematographers in Hollywood history, best known for his low key lighting in film noirs such as "T-Men" and "The Big Combo". And "Painting with Light" provides insight into why and how Alton chose the style he did.

An Introduction by film critic and documentarian Todd M. McCarthy provides a biography of John Alton and a filmography. John Alton starts out by saying that his techniques may be applied to still photography, and there are a couple of chapters toward the end of the book dedicated primarily to still photography, so photographers take note. The equipment that Alton describes is outdated, of course, but the reasoning and techniques may still apply, especially to those interested in low key lighting. The book starts out by introducing the cinematographer's equipment and describing basic lighting set-ups. Film noir fans may be particularly interested in Chapter 3, "Mystery Lighting". Alton found "the most beautiful photography is in a low key, with rich blacks", and he talks about creating it here. Chapter 4, "Special Illumination", explores some situations also common to film noir, such as streets, rain, fog, and moonlight. Chapter 5, "The Hollywood Close-up", might be applied to portrait photography as well as movies.... Other topics include "Outdoor Photography", photographing snow, a just-for-fun article on shipboard photography that seems intended for vacationers, discussion of the beautifying power of light and the brain as "human television system".

"Painting with Light" makes it clear that John Alton was an opinionated, ambitious man who saw the world around him expressed in light, always noting its direction, intensity, and effect. He made a career of "capturing bits of light at rest on things of beauty", and this record of his theories and techniques is an interesting read. Read more ›

17 of 17 people found the following review helpful

5.0 out of 5 stars While I don't agree with every view in this book, I find this book superior to many on aspects of photography and film January 15, 2008

By K. Corn TOP 100 REVIEWERVINE™ VOICE

Format:Paperback

First off, I want to note that the author DOES cover still photography in this book even though the major emphasis is on film techniques. As someone who has always considered lighting to be vital, learning more lighting techniques is a passion. I was naturally drawn to this one.

It didn't disappoint. Very convincingly, Mr. Alton makes his case for the way lighting and setting can affect the whole tone and mood of a film. He also reveals how some difficult situations, filming against snow, can be overcome.

This was a seminal book of 1949 and I'm glad to rediscover it, even though I wasn't born in 1949 and I came to it late but had the luck to see an earlier edition. As you can probably tell, the cover photo is riveting and the contents are also compelling.

I did want to note what may, perhaps, be obvious to some readers: film techniques and the ability to manipulate lighting have come a long way since 1949. Special effects can be used. But I come to this book with a still photographer's background and I'm thrilled to be able to use the information in both film and still photography.

If you are prepared to take what is here and remember when this book was written, you'll find an abundance of riches. For those who like noir type photos or movies, you'll be thrilled when Alton discusses how to use weather to your advantage - whether that be rain, snow, fog, etc.

Also, a confession: I prefer black and white photos and films - in many instances - so I was particularly delighted to read Alton's words about "rich blacks", two words that might not seem to be joined together - rich and black (and I'm not talking politics or class here).... As most of us who work with visual effects know, there are shades of black and there are rich, deep tones as well as the infinite variations along the scale.

I'll forever be baffled as to whether it is the shadows that set off the light or the other way round. But whatever your take, you can't go wrong by reading this book on how to paint with light - and whether you are a professional or amateur, I think you'll find your work benefits from the experience.

Other subjects covered in this one: close-ups, aspects of outdoor photography, still photos (mentioned above), basic principles. When it comes to TECHNIQUE, if you think about what is discussed with a historical perspective, it will serve you well because some of the techniques have come a long way since then. Still, I found it very useful to pretend that some of those techniques didn't exist and it forced me to be more creative.

Highly recommended! Read more ›

7 of 7 people found the following review helpful

5.0 out of 5 stars Old book teaches us new tricks December 7, 1997

By A Customer

Format:Paperback

Originally published in 1949, "Painting With Light" by John Alton was long out of print until the University of California press reissued it in 1995. We would expect that a book by a cinematographer who's heyday was the 1940's & 50's black and white cinema would have nothing to teach us in color movie days. But that expectation would be wrong. The book covers a wide spectrum of the history and craft of cinematography, including the birth of the close-up, special lighting effects, & motion picture theatres. No review could as well convey the exquisite contents of this book than the short blurb from Martin Scorsese printed on the back cover: "The reappearance of this forgotten book -- so insightful and informative -- is a great event for film students and scholars as well as anyone interested in the art of cinematography: its author, John Alton, remains one of the greatest practitioners of that art. From the bright, colorful studio fantasy of 'An American in Paris' to the rich, sinister interiors of 'Slightly Scarlet,' from the sensitive black and white location work of 'The People Against O'Hara' to his powerful noir films with Anthony Mann ('Raw Deal,' 'T-Men,' 'Border Incident') and Joseph H. Lewis 'The Big Combo'). Alton left an indelible mark on his craft as few others have. He truly did paint with light."