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