Few cinematographers have had as decisive an impact on the cinematic medium as John Alton. Best known for his highly stylized film noir classics
, 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
. First published in 1949, and long out of print since then,
remains one of the few truly canonical statements on the art of motion picture photography, an unrivalled historical document on the workings of the postwar, American cinema.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.
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
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
.
Customer Reviews
Average Customer Review
The Lighting Bible, December 2, 2008
By
Jeremiah Thompson (Peebles, OH)
This is the "Lighting Bible". The book has a lot of out dated facts but, is great for setting up shots on a black & white shoot. John Alton was a master of his craft and it really shows in this book. I gave the book a 4 out of 5 stars because it doesn't apply to most film making today but, if you ever need to make a period piece, black & white feature, or "noir" style film; this is a recommend reading.
book written in the 40's, November 23, 2008
By
A. MissanaIf you are looking for Hollywood history this is the right book.. it was written in the 40's!!
but I wasn't interested in history, I would like to learn something about lighting, the book is about cinema lights.. of the 40's... you can always learn something but... I'd rather prefer something more near to me...
Classic historical instruction, a must for cinephiles, September 26, 2008
By
Eric J. Robertson (New York, NY)
Not your average "how to" manual, this is more of a collectors item than practical advice for working cinematographers. I bought it to study the history of film lighting, and for that it was perfect and an ideal short read that isn't terribly technical. Some of the advice is still useful today, but lacks much of the practical working knowledge that most DP's take for granted. Still - I recommend it to all photographers and lighters as a solid foundation book to build from.
Learn To Walk, January 20, 2008
By
Mariano Kamp (Frankfurt, Germany)
This book is really great. Written in the fifties it still seems very relevant to me today.
It explains very basic items like cookies, gobos etc. and basic concepts like how to let objects appear to be three dimensional.
I looked at the book from the eyes of a still photographer. Some content was only relevant to cinematography. Personally, I even liked those parts as they gave me an behind the scenes look into movie lighting, which output I see every day.
A revised version would be very much appreciated.
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 (Indianapolis,, IN United States)
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!
