Care should be taken that all buildings are well lighted: in those of the country this point is easily accomplished, because the wall of a neighbour is not likely to interfere with the light.
Available light is any damn light that is available!
I'm not an expert when it comes to technology, but what changed things for me was autofocus. I used to have to throw away half my pictures because it was so difficult to get the focus right.
Every single discussion I have with a first AD, or producers, is time of day. I can't begin to tell you how many times I've fought for early-morning calls. The light is 90 percent of our job; we as humans respond to light and where it is at different times of day and not only in positive ways.
It seems obvious that colors vary according to lights, because when any color is placed in the shade, it appears to be different from the same color which is located in light. Shade makes color dark, whereas light makes color bright where it strikes.
What's the best type of light? Why that would be available light... and by available light I mean any damn light is available.
I'm a big believer of daylight in the studio.
The thinker requires exactly the same light as the painter, clear, without direct sunshine, or blinding reflection, and, where possible, from above.
I'm not trying to make excuses for David Seaman, but I think the lights may have been a problem.
If you're a traveling artist, you probably experience insomnia at some point. You need things to be the right temperature, the right light... it's essential.
Documentaries are inherently instinctual; you're constantly moment to moment, determining what the best place for the camera is to tell the story, usually in service of natural lighting.
When the sun is covered by clouds, objects are less conspicuous, because there is little difference between the light and shade of the trees and the buildings being illuminated by the brightness of the atmosphere which surrounds the objects in such a way that the shadows are few, and these few fade away so that their outline is lost in haze.
If I'm interrupted, it's just a minor inconvenience, but not a disaster, because it's easy to get back where I was: that is, the paint has not changed consistency; the light has not moved.
The length of exposure (one minute in sunlight) is still too long for the portrait. It was fifteen minutes when I first began my work. Progress may continue.
Apart from the first set - which used high-level concert lighting - once you stepped into the two narrative pieces, we were working with lower-level theatrical lights. In most cases, people were really respectful of that.
The mercury light doesn't show red. It makes the blood in your skin look blue-black. But see how splendidly it brings out the green in the plants.
The most important thing? Perfect lighting at all times.
There are different kinds of painting, some with lights and some without, but still if you look at any painting here (in the light) and then over here (out of the light) it's an entirely different thing. The consciousness of this came to the Impressionists and I'm very interested in that.
Anytime I float by a window, I can tell whether the outside is lit or if it's dark outside. When we're working it's just day for us with the lights on inside.
The colors that show best by candlelight are white, carnation, and a kind of sea-water green.
I prefer complete darkness while sleeping at my house. If I'm staying in a hotel, I keep the lights on.
The biggest problem for badminton is wind direction and lighting. If those problems are not solved, it seriously impacts players' performances on the court. If a high-level player's performance is affected by these factors, they suffer setbacks and cannot be fully satisfied on the court.
Women's orgasms will quadruple in intensity if she's in a beautiful, dimly lit room versus a brightly lit, uncomfortable room.
I find it some of the hardest photography and the most challenging photography I've ever done. It's a real challenge to work with the natural features and the natural light.
I seldom read on beaches or in gardens. You can't read by two lights at once, the light of day and the light of the book. You should read by electric light, the room in shadow, and only the page lit up.
