Datasheet

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■ UNDERSTANDING THE ART OF LIGHTING
Figure 1.21 A lamp unrealistically casts three sharp shadows of itself (as seen in
a frame blowup from a 1950s motion picture).
In contrast, naturalistic lighting is often found in post-1950s historical dramas,
particularly those set in times before the advent of the lightbulb. Prime examples
include Barry Lyndon (1975), directed by Stanley Kubrick (1928–99), and 1492
(1992), directed by Ridley Scott (1937–). In these works, lighting is motivated by com-
binations of sunlight, moonlight, candlelight, and firelight. Keys, fills, and their result-
ing shadows are often extremely soft. The naturalistic lighting approach is not limited
to historical drama, however. Kubrick also employed naturalistic lighting in such films
as A Clockwork Orange (1971) and The Shining (1980).
In the world of art, naturalistic lighting can be found in any of the paint-
ing genres that placed a premium on accurate lighting. For example, Jan van Eyck
(1385–1440) was an early adopter of physically accurate painting. In Figure 1.22, the
light from several windows bounces through a room, creating soft shadows along the
way. Van Eyck helped to establish the style of the Early Renaissance, which placed an
importance on the study of the natural world.
In addition to chiaroscuro works, the baroque movement produced many natu-
ralistic paintings. The movement placed an emphasis on emotionally and physically
accurate portrayals of subjects. Two Dutch painters, Jan Vermeer (1632–75) and Pieter
de Hooch (1629–84), were particularly successful at rendering soft, naturally lit inte-
riors and exteriors. For example, in Figure 1.23 a sunset sky provides a diffuse light
within a building’s shadow for a threesome at a table, yet brightly lights buildings in
the distance.
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