Besides being lost in another time, watching old movies taught me to develop my photographic eye and better understand the art of visual storytelling. Secretly, I wish I were a cinematographer – who wouldn't want a magnificent score to set amazing shots to? I digress. Today I'm sharing a few of my favourite classic movie moments and what they've taught me about photographic composition and lighting. And indeed I covet the ability of the directors to set up shots like these.
Grace Kelly – the epitome of cool – perfectly composed in this frame from Alfred Hitchcock's 1954 film, Rear Window. The soft back light giving her a silver lining so she contrasts against the dark background, with just enough light from the front drawing your eye to her flawless decolletage and sparkling necklace, gorgeously out of place in James Stewart's humble apartment. Just, wow!
Love the low angle of this opening shot introducing us to the larger than life city of Manhattan, NY and its equally larger than life resident, Holly Golightly (Audrey Hepburn). It is beautiful intimidation – the imposing skyscraper, the unobtainable Tiffany brand, that perfect french roll, Hepburn's impossible beauty. It's just not for mortals.
Another still from Breakfast at Tiffany's. Hepburn's character is on the edge emotionally and quite literally in the composition of this frame. She's positioned on the far right, eyes downcast, facing off camera and away from the very sweet George Peppard from whom she doesn't want to hear three little words. Oh, melt my heart! Times a thousand.
And to something completely different…a still from another Hitchock film, Vertigo (1958). A serene moment as James Stewart spies Kim Novak enjoying a quiet moment beside San Francisco bay, or is she? She whimsically throws rose petals into the water and then, well…I don't want to tell you what happens next in case you haven't seen the film. It's quite a moment. I love the composition here with Novak positioned on the third, the San Francisco bridge so imposing and dramatic, the colour awash with blue evokes the correlating mood. It is a very enigmatic scene, cleverly shot.
I could go on and on. I just love analysing movie scenes and trying to see 'why' the director chose a certain colour, or light, or composition, or angle to tell the story. I'm a bit of a kill joy when watching TV or movies, often saying to my long-suffering husband, "did you see what they did there?" Then going on to explain some 'fascinating' filmic technique. Meanwhile he's worked out whodunnit within the first five minutes while I'm still marvelling at the flawless editing.
Speaking of flawless, you have to look at this photographer's work because the whole point of this post was really to show you this and tell you how much I want to BE this guy! This photographer has a filmic eye (indeed he makes moving pictures too) and weaves intrigue in all of his images. He captures the timeless feel of the 1950′s/60′s but remains contemporary and relevant. Just stunning. I coveteth much.
http://fadedandblurred.com/spotlight/kalle-gustafsson/
http://www.kallegustafsson.com/
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