Alfred Hitchcock - incredible reference for deep deep blacks

[mdarnton]

When I went to the Steichen exhibit last year here in Chicago, I was struck by how many of his photos, original prints, had the subjects dressed in black, disappearing into a black background, for a strongly graphic look that went beyond the subject matter. And these were photos intended for reproduction; in the actual magazines the effect was even stronger. I had never realized this, nor appreciated Steichen properly! Karsh, as well, liked to discard shadow information. The Steichen pix got me thinking differently about tonal range and how to use it, and I've been working with a black background lately trying to get some of the effects he got.

Steichen:
https://deathhour.files.wordpress.co...ro-de-1931.jpg
http://www.afterimagegallery.com/Ste...StokowskiL.jpg
https://realgothic.files.wordpress.c...teichen_02.jpg
https://pleasurephotoroom.files.word...pburn-1933.jpg
http://www.bjp-online.com/wp-content...t-940x1185.jpg

My attempt:
https://www.flickr.com/photos/michae...n/16188815462/

[bob carnie]

Good samples - I will try to post some images that reflect what I saw as much more aggressive.

When I went to the Steichen exhibit last year here in Chicago, I was struck by how many of his photos, original prints, had the subjects dressed in black, disappearing into a black background, for a strongly graphic look that went beyond the subject matter. And these were photos intended for reproduction; in the actual magazines the effect was even stronger. I had never realized this, nor appreciated Steichen properly! Karsh, as well, liked to discard shadow information. The Steichen pix got me thinking differently about tonal range and how to use it, and I've been working with a black background lately trying to get some of the effects he got.

Steichen:
https://deathhour.files.wordpress.co...ro-de-1931.jpg
http://www.afterimagegallery.com/Ste...StokowskiL.jpg
https://realgothic.files.wordpress.c...teichen_02.jpg
https://pleasurephotoroom.files.word...pburn-1933.jpg
http://www.bjp-online.com/wp-content...t-940x1185.jpg

My attempt:
https://www.flickr.com/photos/michae...n/16188815462/

[Leszek Vogt]

The whole "excersize" starts with picking the correct film stock (and grain)....and if it delivered too much tonality, the print can be "timed" in the lab and the contrast adjusted incrementally. Hitch was a maestro and the projection prints had the look he desired. Indeed, people could get lost in the shadows....totally orchestrated....and heeding the story. V. often Hitch is used as an example in film schools (UCLA for sure), due to rich story and plenty of technical approaches.

Les

[bob carnie]

I hope these samples will lead this thread in the direction I had hoped.. I believe Mr Hitchcock was brilliant in this area.

The modified jpeg has the beginnings of the direction I was observing in the doc. the sample images do not really have the lighting ratio with heavy cross lighting but you can imagine where I am going with this..
images courtesy of Fred Hunsberger .. collection housed in Conrad Grebel Museum Kitchener Ontario.

[mdarnton]

Now that I see your examples, which appear to be shot with on-camera flash, I wonder if what you saw in Hitchcock was the use of fresnel spotlights highlighting things for dramatic effect? Similar to what Hurrell did?

http://furinsider.wpengine.netdna-cd...ge-Hurrell.jpg
http://www.bestmoviesbyfarr.com/stat.../2-1hch8i7.jpg
http://fadedandblurred.com/wp-conten...hurrell-18.jpg
http://2.bp.blogspot.com/-5DVTAux0SR...rrell-1933.png

[Taija71A]

__

Bob, on an entirely different note (But if you still like 'Deep, Deep Blacks')...
Please feel free to check out some of Ralph Gibson's 'earlier' Work.

His 1971-2000 'Chiaroscuro' and 1980 'Black Series' (*Amongst others)...

Both make a very clear, compelling and cogent statement...
And are also eloquent, exercises -- In Film Processing & Printing!

http://www.ralphgibson.com/1971-2000-chiaroscuro.html
http://www.ralphgibson.com/1980-black-series.html
--
Cheers,

-Tim.
_________

[Martin Dake]

Another with harsh lighting that worked was Orson Welles' Touch of Evil.

And, 'The Third Man' by Orson Welles; great lighting in that one also.

[Brian Sims]

And, 'The Third Man' by Orson Welles; great lighting in that one also.

One of my top ten best movies. The chase through the sewers Vienna was spectacular. The sound was as important as the use of black.
BTW: Carol Reed directed the movie. Orson Welles was a main character, but I would say Joseph Cotten played a bigger role.

My favorite line: Orson Welles trying to deflect the moralizing of Joseph Cotten, "in Italy, for thirty years under the Borgias, they had warfare, terror, murder and bloodshed, but they produced Michelangelo, Leonardo da Vinci and the Renaissance. In Switzerland, they had brotherly love, they had five hundred years of democracy and peace – and what did that produce? The cuckoo clock."

[bob carnie]

Good Examples

I think I have to think this one through a bit.. This and some heavy side lighting with fresnels as suggested above.

__

Bob, on an entirely different note (But if you still like 'Deep, Deep Blacks')...
Please feel free to check out some of Ralph Gibson's 'earlier' Work.

His 1971-2000 'Chiaroscuro' and 1980 'Black Series' (*Amongst others)...

Both make a very clear, compelling and cogent statement...
And are also eloquent, exercises -- In Film Processing & Printing!

http://www.ralphgibson.com/1971-2000-chiaroscuro.html
http://www.ralphgibson.com/1980-black-series.html
--
Cheers,

-Tim.
_________

[Ben Calwell]

Those are beautiful examples. I must say, though, that it's considered genius when a famous photographer produces prints with a lot of empty, deep blacks, but for the unknown amateur who shows up at the local camera club meeting with such prints, he or she would likely get the "Where's Your Shadow Detail?" lecture from the textbook crowd.