Among all the interesting lessons that can receive a photographer one of the most transcendent is that which comes from the observation of some paintings by great masters.
Rembrandt, Caravaggio, Brueghel, and others may become limitless source of wisdom in the composition and lighting of an image.
might think, at first instance in the gap between how to make a painting with the immediacy of the photographic image, the possibility for the artist to assemble multiple images from sketches and will create adequate lighting its purposes, against the limitation of the photographer who, except for the use of computer resources, is forced to create one piece, at once, its image, or the composition of an image on a staged, with all resources under control.
How then can transmit a master of painting knowledge applicable to the photographic act hundredth of a second?
The reasoning behind this work is based on two hypotheses: the first is that the instantaneous act of the photographer is the consequence or the result of their life, all his knowledge, those who are unaware both of which emerge as in his consciousness, and appreciate the fact that details a masterpiece painting gives an enrichment capacity of vision to be decisive in framing and click.
The second hypothesis is that if some works have survived the centuries and continue to fascinate viewers is because they are made so that nothing is lacking and nothing is superfluous to pursue a perennial attraction: each element is where it should be, and this is the weight of the composition.
Rembrandt: Descent from the Cross
This painting is perhaps one of the finest examples of the value of a composition made almost entirely from the use of light.
In this play, monochrome painting, the intense illumination value on the body of Christ leads immediately look into what is the center of the work, the eye is always attracted to the lighter areas of the image and away from the darker areas.
If you look carefully at the detail of the body of Christ and of men holding it by the effect of the provision of members and lighting, what is perceived is the sense of a downward motion, a corkscrew motion: a retaining arm extends in a dead arm, the torso is linked by another arm and then another man holds her legs, and so the look and van bodies down at the ground where the body will eventually reach.
In the shadow of Christ's arm can be deduced that the torch or oil lamp is held in front of a character that gives back and appears backlit with a glowing halo around his head.
And it is this same lamp from below, "called" the body into the earth, brightly illuminating the face of Mary, fainting and sustained by men and women. This part of the scene is the "Stabat Mater", which tragically highlights the immense grief of the mother who poured over all the work.
Below is a canvas, but also lit unless the main figures on this shroud will go to rest the body of Christ and its horizontal orientation visual puts a limit descent from the Cross.
On the assumption that nothing is by chance in a work of Rembrandt, one might wonder why a more brightly lit section of the ladder, which stands out even of human figures found in the soil. One might think perhaps that the ladder is so light that you comes from the torch, but this is not a photograph, the light does not reach the ladder if there is no intention by the author to mean anything. And when you see how willing the light appears to indicate clearly that serves to bind the body with the shroud down to what will come. Establishes a connection could almost look temporary and that the succession seen in the body, bodies, and then the final destination.
In the bottom right of the painting enhanced plant, with its illuminated contours and can be assumed, with the same criteria that contain only what is necessary, that this plant reliably mark the existence of the earth, the final recipient body Christ, the fate that awaits him.
whole picture has a realistic lighting would be very difficult to find an inconsistency between sources of light, shadows and lighting levels, something Rembrandt was a great teacher. This lighting scheme, apparently with two sources, is not at any time the light source, it always seems to come from the faces, as if they light up the night. And it also has a meaning different connotations as it senses that who receives the light is able to transmit in turn, be a source of light. Fits
some reflections on the way to light: to start we see that in this, as in many works of Rembrandt, light is a narrow channel, a narrow stage amid a dense darkness and light brings a message of light to touch the subject makes it appear, the light becomes matter. Moreover, the darkness is what produces the feeling of nothingness, of non-being, and opposed everything that is illuminated is what came out of nowhere and inevitably return to nothing. Rembrandt composition conveys a message by the light of profound religious content.
uses light as an indication of where interest focus, enhances and highlights the tragedy of a face, sets the order in time, a sequence that tells a single image what will happen, in darkness envelops the scene not only to preserve its dramatic character, but to emphasize the huge difference between what was happening there at the moment, and everything that is out of the scene. The bodies, arms and hands and also directed the show looks, but they always do with a touch of light. The faces that are seen vaguely in the dark also play their important role as the mind reconstructs what is not complete and therefore works, part of the scene.
Part of the richness that can be found in this composition is found everywhere, often within reach of the photographer as well, while the artist creates his work, photographer found, also created in the moment of clicking the encounter between the self and the watching world.
Rembrandt, Caravaggio, Brueghel, and others may become limitless source of wisdom in the composition and lighting of an image.
might think, at first instance in the gap between how to make a painting with the immediacy of the photographic image, the possibility for the artist to assemble multiple images from sketches and will create adequate lighting its purposes, against the limitation of the photographer who, except for the use of computer resources, is forced to create one piece, at once, its image, or the composition of an image on a staged, with all resources under control.
How then can transmit a master of painting knowledge applicable to the photographic act hundredth of a second?
The reasoning behind this work is based on two hypotheses: the first is that the instantaneous act of the photographer is the consequence or the result of their life, all his knowledge, those who are unaware both of which emerge as in his consciousness, and appreciate the fact that details a masterpiece painting gives an enrichment capacity of vision to be decisive in framing and click.
The second hypothesis is that if some works have survived the centuries and continue to fascinate viewers is because they are made so that nothing is lacking and nothing is superfluous to pursue a perennial attraction: each element is where it should be, and this is the weight of the composition.
Rembrandt: Descent from the Cross
This painting is perhaps one of the finest examples of the value of a composition made almost entirely from the use of light.
In this play, monochrome painting, the intense illumination value on the body of Christ leads immediately look into what is the center of the work, the eye is always attracted to the lighter areas of the image and away from the darker areas.
If you look carefully at the detail of the body of Christ and of men holding it by the effect of the provision of members and lighting, what is perceived is the sense of a downward motion, a corkscrew motion: a retaining arm extends in a dead arm, the torso is linked by another arm and then another man holds her legs, and so the look and van bodies down at the ground where the body will eventually reach.
In the shadow of Christ's arm can be deduced that the torch or oil lamp is held in front of a character that gives back and appears backlit with a glowing halo around his head.
And it is this same lamp from below, "called" the body into the earth, brightly illuminating the face of Mary, fainting and sustained by men and women. This part of the scene is the "Stabat Mater", which tragically highlights the immense grief of the mother who poured over all the work.
Below is a canvas, but also lit unless the main figures on this shroud will go to rest the body of Christ and its horizontal orientation visual puts a limit descent from the Cross.
On the assumption that nothing is by chance in a work of Rembrandt, one might wonder why a more brightly lit section of the ladder, which stands out even of human figures found in the soil. One might think perhaps that the ladder is so light that you comes from the torch, but this is not a photograph, the light does not reach the ladder if there is no intention by the author to mean anything. And when you see how willing the light appears to indicate clearly that serves to bind the body with the shroud down to what will come. Establishes a connection could almost look temporary and that the succession seen in the body, bodies, and then the final destination.
In the bottom right of the painting enhanced plant, with its illuminated contours and can be assumed, with the same criteria that contain only what is necessary, that this plant reliably mark the existence of the earth, the final recipient body Christ, the fate that awaits him.
whole picture has a realistic lighting would be very difficult to find an inconsistency between sources of light, shadows and lighting levels, something Rembrandt was a great teacher. This lighting scheme, apparently with two sources, is not at any time the light source, it always seems to come from the faces, as if they light up the night. And it also has a meaning different connotations as it senses that who receives the light is able to transmit in turn, be a source of light. Fits
some reflections on the way to light: to start we see that in this, as in many works of Rembrandt, light is a narrow channel, a narrow stage amid a dense darkness and light brings a message of light to touch the subject makes it appear, the light becomes matter. Moreover, the darkness is what produces the feeling of nothingness, of non-being, and opposed everything that is illuminated is what came out of nowhere and inevitably return to nothing. Rembrandt composition conveys a message by the light of profound religious content.
uses light as an indication of where interest focus, enhances and highlights the tragedy of a face, sets the order in time, a sequence that tells a single image what will happen, in darkness envelops the scene not only to preserve its dramatic character, but to emphasize the huge difference between what was happening there at the moment, and everything that is out of the scene. The bodies, arms and hands and also directed the show looks, but they always do with a touch of light. The faces that are seen vaguely in the dark also play their important role as the mind reconstructs what is not complete and therefore works, part of the scene.
Part of the richness that can be found in this composition is found everywhere, often within reach of the photographer as well, while the artist creates his work, photographer found, also created in the moment of clicking the encounter between the self and the watching world.
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