Luca Di Lotti says:
Il mood generale che mi affascina, si trova nelle ambientazioni desolate di Alvarez e di Patrick Joust.
Le loro scene notturne sono quasi sempre prive della presenza umana, che però, se fosse presente, sarebbe forte come un pugno nello stomaco.
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The general mood that fascinates me, can be found in desolate environments of Alvarez and Patrick Joust.
Their night scenes are almost always with no human beings in them, but, if present, their presence would be as strong as a punch in the stomach.
Luca Di Lotti says:
Molti trovano una similarità tra i lavori di Patrick e quelli di Gregory Crewdson ma non credo che questo sia un gran complimento per Patrick: a parte il fatto che Crewdson è quasi esplicito nelle scene che rappresenta, non c'è suspense, non c'è attesa dell'inevitabile, come c'è in quelle di Patrick, ma il fatto fondamentale è che i set di Crewdson costano centinaia di migliaia di dollari (e sono plastic-like), mentre quelli di Patrick costano, intorno ai 15.00$, più benzina (e sono real-feel-like), chi è quello davvero bravo?
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Many people have found a similarity between the work of Patrick and those of Gregory Crewdson, but I do not think this is a great compliment to Patrick: apart from the fact that Crewdson is almost explicit in his images, there is no suspense , there is no waiting for the inevitable, as there is in those of Patrick, but the basic fact is that the set of Crewdson cost hundreds of thousands of dollars (and are plastic-like), while those of Patrick costing around to $ 15.00, plus gasoline (and real-feel-like), whom is really good?
Luca Di Lotti says:
"cinematic feel" che può non voler dire assolutamente niente, ma che per me significa:
1) uso di una o più luci off-frame (qui ne vedi due, che magari sono solo luci di strada).
2) dinamicità della scena (o percettibilità di un "qualcosa che sta per avvenire o che sta avvenendo")
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"cinematic feel" which may not mean anything at all, but for me it means:
1) Use of one or more lights off-frame (here you see two, maybe they are just street lights).
2) dynamic of the scene (or perceptibility of a "something is about to happen or is happening")
Luca Di Lotti says:
cinematica anche questa, ma i soggetti sono appiattiti, non sono affatto emergenti, il che da all'insieme un'aura da fiaba ma meno impatto visivo. È una scelta, ovviamente.
Forte dinamismo, comunque.
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also this is cinematic, but the subjects are flattened, they are not emerging, which gives the whole image a of fairy tale feeling, but less visual impact. It is a choice, of course.
Strong dynamism, however.
Luca Di Lotti says:
cinematica ed onirica, questa mi manda fuori.
il trattamento è sublime.
molto forte come presenza e con tutte le caratteristiche che mi ispirano è anche questa
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Cinematic and dreamy, this blow my mind.
The treatment is sublime.
another one with a very strong presence, with all the features that inspire me, is this one too: this
Luca Di Lotti says:
Jake è un maestro del grande formato (8"x10") = (20×25 cm)
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Jake is a master of Large Format photography (8 "x10") = (20 × 25 cm)
Looks like straight out from a weird dream or a mysterious movie, of the kind that you can't get it even after the third time you see it.
I just love this image and the feels it gives.
Luca Di Lotti says:
let's go to the cinema.
Still frames from the big screen master's movies are a powerful tool to learn how to set up lights.
(sometimes also useful to learn what not to do).
Here, to simulate the reflection of the golden jewel on the face of the beautiful Karen Allen they probably used a light source with a very narrow snoot on, the shadow on her cheek is actually the shadow of the jewel.
There is a strong, warm back light on her left side, a "hair light "(what a quirky term) above her, probably a filling light (I'd say very faint) and then, finally, a strong diffuse and cold light, to fill the ambient and to "bleach" the background.
Oh, yeah, there is a candle, too. ;)
Luca Di Lotti says:
Sometime they "help the sun", I bet they used one or two reflectors to get rid of the natural harsh shadows under their chins and upper part of their eye sockets. Of course I'm just guessing it, since the sun appears (to me) to be at its top in the sky.
I wish I could take a portrait like this.
At the "devil's Tower", of course.
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(from Close Encounters of The Third Kind)
Luca Di Lotti says:
Again a "big help" to the sun.
Looks unnatural, but I love it.
If they didn't used any light to enhance the sun, there are still two additional lights:
a fill light, warm and excessively strong, and a back light, on his left, colder and even stronger.
The result, albeit a bit unreal, it's striking.
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I am deliberately ignoring everything else apart the lighting: the pose, the intensity, the angle, the DOF and the framing. All that talks by its own.
Luca Di Lotti says:
here I can count:
one from left, with a flag, to his face,
one from right, down, to his face,
a filling light from left-center to his face, very narrow, though,
one from above-back, hitting his hairs and right shoulder,
one from right-above, hitting his chest (partially) and left shoulder,
and I can just guess at least 5 spots for the ambient.
Way too complicated lighting, but very effective.
Luca Di Lotti says:
this is magic. I'm not even sure it's a real photography, they may took it using a matte painting background.
I think I would like to do something like that in the woods around my town, we have not such creepy trees, but the effect would be amazing as well!
Who's the volunteer to climb a tree to place the speedlight at the needed high?
A weak fog is also needed to make visible the beam of light and the speedlight have to be masked with a pierced and bent cardboard, the mask itself has to be mounted at a close distance from the speedlight, to get the diverging rays.
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