ITALIANA - AIC Associazione Italiana Autori della Fotografia ...

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forme reali che lo portano a
raccontare con le immagini una
storia.
La storia della pittura presenta
altri momenti straordinari nella
"rappresentazione della verità".
Ad esempio Caravaggio e la sua
sublimazione della luce. Ogni
volta che lo si osserva, stupisce
con identica intensità per il suo
rigore nel definire il punto di
that it was the light that gave the character to each one of them, from
Caravaggio, to Raphael, Titian, Lotto, El Greco, Rubens, Rembrandt,
Velasquez, Zurbara, Tiepolo, Hogarth, Goya, Ingres, Corot, Degas, and
finally, the dazzling light that emanates from the cornfields painted by
Van Gogh.
With the inventimi of photography, we find ourselves with an
optical-chemical system which permits us to transform the light stimulus
into something "permanent", via a copy of the "real" which is defined as
"objective".
Photography qualifies the moment it records, suspends it indefinitely,
and gives us the the possibility of observing an infinitesimal part of an
event.
The copy of the "real" enables us to re-create a remembered feeling, and
render a past moment infinite. The photographs ofNadar, the greatest of
them all, border on absolute perfection. He photographed an entire epoch,
and succeeded in communicating the most subtle characteristics of each
of his subjects. Studying the physiognomy of these people, one has the
distinct feeling that Nadar was actually able to portray their inner
nature, thus realizing the dream of capturing the "true image" of the
"real", using a "black box" and light-sensitive surface.
The technical systems used to reproduce the image have completely
changed the manner in which it is researched and created.
The golden period which existed previously, especially as regards the
creation of an artistic work, has given way to a radically different way of
working. For instance, the main characteristic of filmmaking is that it is
a "group project", which implies constant collaboration and the actual
creation of the image being the responsibility of a number of people.
This has resulted in new methods for the creation of an artistic work
origine e lo sviluppo dinamico
della luce. I personaggi delle sue
rappresentazioni sono fermi
sulla tela come racchiusi nei
volumi dei chiaroscuri, ma
mobili nei nostri occhi. Temiamo
nel nostro inconscio profondo,
che, se per un istante
sospendessimo lo sguardo, la
figura rappresentata si potesse
muovere magicamente entrando
Camera Obfcura
nell'ombra, per poi ritornare nel
taglio di luce.
Caravaggio dimostra di essere
cosciente delle modificazioni che
subisce il fascio luminoso nel
suo percorso e, in un perfetto
dualismo (luce-ombra), lo
annuncia e lo fa morire dentro
la tela, realizzando inoltre toni
cromatici che riflettono con
assoluta coerenza le condizioni
being evolved.
The screen unites the different methods involved in the creation of the
image, each of which qualifies it to some degree. In this context, the
Director of Photography, with his culture and technical skill, is still
responsible for creating the lighting. The Director of Photography
continues in the great tradition, by composing images and accenting
them with light, while also drawing on a "mental store" of images that he
has perceived in everyday life which permit him to translate both his
knowledge and visual experience into creative expression.
The cinematographic image represents history and, in its turn, becomes
a history of takes, contrast, and particular colour tones.
The modulation of chiaroscuro in a close-up expresses the essence of our
aesthetic choices, making it possible to reach the ultimate in storytelling
with images.
However, even though I maintain that our role is of prime importance in
the creation of the image; I also believe it is essential that the concept for
the lighting is in complete harmony with what the "storytellers"
(scriptwriter and director) wish to express.
In such a complex "picture", our work must have all the essential aspects
of an interpretation deriving from a complete knowledge of the image's
history, as related to the history of graphic symbols.