fourteen

contrast 1: shadow and light

(Some) components of an image

Parameters (of pixels and regions) Color: hue, saturation, value (brightness) Texture Size Weight

Contrast Variations in a parameter

Form Line Plane Volume Shape

Composition Placement Balance, proportion, scale relationships Repetition/change

Contrast

Defines objects Directs attention

Local contrast draws attention

Establishes mood Wide range/narrow range More contrast generally more dramatic

Chiaroscuro:Contrast in value

Most important source of information for the visual system

Used to Separate figure from ground Direct attention Establish shape Establish depth Set mood

Manipulated through control of Shape Pigmentation Lighting

Fritz Lang, M (German, 1931)

Haloing

Separates figure from ground

Friedl Dicker, Light and dark study, c. 1920

Rim lighting

Used to emphasize outline of an object in shadow Key light leaves left edge of character in shadow

Can’t make out object boundaries Spooky (Tom Hanks isn’t supposed to be spooky)

Weak rim light brings up contrast at object boundary Tom Hanks safely de-spooked

key fill rim

John Lasseter, Toy Story (USA, 1995)

Directing attention

Eye is drawn toward Bright areas Areas of high contrast

Directing attention

Rembrandt, The Night Watch, c. 1624

CaravaggioThe Calling of St. Matthew, C. 1597

Modeling

Pictorial techniques to bring out object shape Chiaroscuro very

important

Point-lights generate strong shadows Highlights

Carvaggio, Incredulity of St. Thomas

Modeling

Shape from shading

We compute surface curvature from intensity gradients

Bias to assume light source is above the head

Modeling with lighting

Key light Offset from camera Mood, modeling

Fill light Fills in rest of scene Keeps shadows under control

Others Back light, rim light, …

Photography with direct flash is evil

Direct flash has the light source at the lens, pointing at the subject Flattens image Highlights are in the “wrong” place

Bounce flash points the light at the ceiling or some other surface

The Boris Karloff effect

Mood

Contrast connotes emotional intensity Danger Excitement Example: film noir

Washed-out scenes connote dreariness

Boris Karloff effect

Mood

Georges de la tour ,The Repentant Magdalene, C. 1640

Georges de la tour, St. Sebastian, C. 1650

Cold light

Warm light

Fritz Lang, Metropolis (Germany, 1926)

Fritz Lang, Metropolis (Germany, 1926)

Fritz Lang, M (Germany, 1931)

Fritz Lang, Blue Gardenia (USA, 1953)

Cohen bros., Blood Simple (USA, 1984)

film noir

one-stop shopping for examples of high-key dramatic lighting

The Locket (USA, 1947)

Gun for Hire (1942)

Scarlet Street (1945)

Hollow Triumph (1948)

Sudden Fear (1952)

the 1970s

one-stop shopping for examples of low-key ennui lighting

The French Connection (1971)

Annie Hall (1977)

One Flew Over the Cuckoo’s Nest (1975)

Fantasy/SF

more high-key lighting and chiaroscuro

Dark City (1998)

Dark city

Dark City

Dark City

Dark City

Dark City

Dark City

Dark City

City of Lost Children (France, 1995)