August Portraits

[Mark Sawyer]

BTW, fun "Rembrandt lighting" trivia from Wikipedia:

Origin of photographic term
Pioneering movie director Cecil B. DeMille is credited with the first use of the term:

DeMille explained in his autobiography that while shooting THE WARRENS OF VIRGINIA (1915), he borrowed some portable spotlights from the Mason Opera House in downtown Los Angeles and “began to make shadows where shadows would appear in nature.” When business partner Sam Goldwyn saw the film with only half an actor’s face illuminated, he feared the exhibitors would pay only half the price for the picture. After DeMille told him it was Rembrandt lighting, “Sam’s reply was jubilant with relief: for Rembrandt lighting the exhibitors would pay double!”

[Mark Sampson]

It's worth noting that Rembrandt rarely, if ever, used what we call 'Rembrandt lighting' today. Of course it can be a beautiful effect, by whatever name.

[Mark Sawyer]

Actually, he did use it quite a bit, and throughout his career. Three self-portraits at different ages:

1629:


1660:

[unrealalex]

Malefic Fabler, ambrotype 8x10"

[Stephane]

My Father
Heliar 300 f/4.5
Fomapan100

[Emil Schildt]

Actually, he did use it quite a bit, and throughout his career. Three self-portraits at different ages:

1629:


1660:

interesting!

I learned about "rembrandt lightning" from an old Norviegian portrait photographer, and his Rembrandt lightning has nothing to do with these examples!

I think (could be wrong, though..) that there's a difference in the lightning types whether it is meant for motion picture OR for still photography (?).

But maybe I'm the only one left, that teaches Rembrandt lightning "wrong".....
That's ok. It is a much nicer light.....

[Emil Schildt]

here's a couple of portraits I call Rembrandt lightning...

Old woman:



..and Kala (paper negative 18x24cm)

[Dave Wooten]

Rembrandt lighting it often exampled as main light (often the only light) high 45 degree forming a triangle splash of light on the cheek opposite the main light below the eye. Note the painted portrait examples posted above by Mark.

[Emil Schildt]

Rembrandt lighting it often exampled as main light (often the only light) high 45 degree forming a triangle splash of light on the cheek opposite the main light below the eye. Note the painted portrait examples posted above by Mark.

yes, but that's not what I learned!

Main light from behind the model - light that is strong and centered.

All light on the models face is reflected light from the beforementioned light scourse.

To make the light like Rembrandt, there has to be a smallish but strong light on the background - the strongest light must be on the background...

As if you're trying to see a person's face, when the sun is setting right behind him/her...

The rembrandt paintings (not so much his portraits) often has the strongest light behind the main subject - like a man carrying a candle fx....

Your Rembrandt description is - to me - just a classic 45 degree "triangle" light.. can't explain in english - sorry.

I still think the "definition" of Rembrandt as described by most people comes from motion film...

Confusing.

[lenser]

Gandolfi,

I have to agree with Dave, not only from his perfect description of what a Rembrandt lighting pattern is, but also from verifying this in Rembrant's own techniques in the illustrations in two biographies that I have.

As to his using the main light from behind the model, I can only find that in a very few paintings that featured windows or doorways behind the subject. All others have the main light very clearly coming from the front/side at mostly the classic 45 degree angle.

In none of the illustrations I have is the face illuminated by reflected light only.

The background light in most of these, especially the individual portraits, is almost exactly like a traditional photographic portrait set up, namely a soft glow to center attention on the subject by creating a delicate separation from the usually very dark background.

You are right, Rembrant lighting IS just like classic 45 degree lighting with perhaps a deeper contrast range to emphasize the triangle of light that spills across the nose.

I can't imagine where your teacher acquired his information, but I believe that he led you far off from what real Rembrant lighting is. Perhaps he was referring to the extremes of highlight and shadow and the depths from which the subject emerges, rather than the actual pattern of the light. In that sense, he most certainly would have been correct.

By the way, your use of English is wonderful and your explanations are quite easy to understand.

Tim