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63 of 68 people found the following review helpful:
5.0 out of 5 stars
Excellent Book for Professionals, July 12, 2001
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.
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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
"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.
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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
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!
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