Painting With Light

This is the classic by John Alton. You will learn those essential theories on lighting which answer all or at least many of your questions. I've read so many books on this subject, and this is the first that really explained how to light to make it 'look like a movie.' I encourage you to purchase this. You will learn some essential theory you need to be a pro, or to understand cinematography. Even though this was written years ago, the techniques are still used today. You can see a great example of this style in Spielberg's Lincoln, and in just about every other movie made today. An essential book for the cineaste, and a good read.

The book was recommended by a neighbour and friend, Nico Dufort, who worked on 'Happy Feet Two', and who had duties which spanned technical and creative work on the movie. The book's author, John Alton, insisted that still photographers and cinematographers are primarily creatives. He also gives many examples of working quickly and innovatively, whilst honouring the beauty of the actors and scenes, indoors and outdoors. Mr Alton achieved an enviable list of film noir credits in particular but his range extended to various genres and to colour as well as black and white: He asserted that black and white were colours despite the orthodox classification. Mr Alton also understood the need for openness to other artistic experiences. His life spanned several continents and very different cultures and is interesting in its own right. Perhaps the greatest strength of 'Painting with Light' is the clarity and generosity of technical knowledge freely explained with diagrams and methodologies set out for different types of scenes and lighting conditions.

Real person here. If you want a book that covers how to make movies, this is it. Chapter 1 opens with describing all ththe various positions ins required to make a film, from director, to camera, electric, grip, process, special effects, green dept, stand by painter, makeup, wardrobe, standins, and the lab guy. This is dated info but still relevant. It then goes on to talk about equipment, from cameras and lenses, to dollys and tracks , to reflectors, scrims, flags, etc. that's chapter 1.The rest of the book covers lighting theory, mystery lighting, close up lighting, outdoor lighting, snow, sea, portraits, the lab, day and night, and a bunch of other stuff. It clocks in at 191 pages.

As a former professional stills photographer I can relate to many, if not all of the lighting discussions in this book. After all, in a way light is light. Nothing much has changed there. What has changed enormously is the move to a more natural 'lighting'., i.e. away from the very theatrical lighting often displayed as examples in this book. There is a lot of great, detailed explanation on how to light in various situations but the result is something that looks pretty dated nowadays. It is an essential book for a grounding in basic lighting, in an era, but...I don't see things lit the same way...today. And with respect to my American friends, some things are explained in a long-winded way that I got in the first couple of paragraphs. We don't need endless variations of what was just said. A lot of people have defended the book , almost religiously, as if somehow it could not possibly be less-than-prefect. Well, it probably was for the time.Just not now. It is an essential library addition, but as a go-to book...I'm not so sure.

How refreshing to hear a confident, experienced, and eloquent voice in a lighting book! How different from so many of the newer books which are either dull and dry or kept so basic as to be useless to all but neophytes.Mr. Alton shares all, and his insights make many of the challenges of sophisticated lighting less daunting. Yes, this was primarily written for apprentice cinematographers in an age with very different equipment, but Mr. Alton transcends time and technology. And he writes in his introduction that he believes the books concepts will also apply to portrait photographers, which they absolutely do!Studio photography is circling back to continuous lighting, now that affordable, powerful LED lights and Fresnel lenses are available. This book is a must for serious portrait photographers using the new "hot lights."Enjoy!

This book came highly recommended to me by Shane Hurlbut ASC. It contains fundamental cinematography techiniques, advanced techniques, and a wealth of information regarding just that - painting with light. None of the info here has changed... there may be more controlable light sources these days, but light remains the same as does it's application. I recommend this to anyone, novice to expert, that has a passion for cinematography and wants to keep their sword ever-sharpened... great read!

It talks about John Altons life; how to light like Hollywood of the 30s & 40s; and about light in general.

[Note: I'd give this 3 and a half stars if the system would let me] Alton's book is indeed pioneering and along with The 5 C's of Cinematography make up the seminal volumes on cinematography that film makers used for almost 3 decades. Alton's writing style is very formal and at times can be almost condescending; at times he seems to imply that his way is the only "right" way to light something. However, for the genre and period he was lighting for I think it is appropriate. He pretty much invented film noir lighting and in this book he reveals just about every technique to do so yourself. I liked the many photos and stills from real movies, and he does have a chapter on the grip and lighting fixtures available in those days. Ironically many of those fixtures are still staples in any hollywood soundstage, so things aren't outdated in that sense.Another interesting section is his analysis of natural light and the qualities of the various times of day and how to emulate them on a set.