Vermeer's Girl with a Pearl Earring
Posted 14 September 2006 - 04:42 PM
I would like to reproduce Vermeer's Girl with a Pearl Earring with a still Reflex camera. Piece of cake, huh?
I don't have access to various types of lighting sources... I think I'll only be using 5k, 2k, 1k, 650 and 300 fresnels.
Max Jacoby, I would like to hear from you, as I know you worked in Peter Webber's movie. Eduardo Sierra's cinematography is outsanding, btw.
well, thanks a lot
Posted 17 September 2006 - 06:50 AM
Posted 17 September 2006 - 08:18 AM
Posted 17 September 2006 - 09:41 AM
Posted 17 September 2006 - 10:24 AM
Posted 17 September 2006 - 05:22 PM
Oh, and don't you think that there should be another source to light the fabric that's hanging from her head? It seems to me that the key light wouldn't hit the cloth that way...
And what about the pearl? Doesn't it seem too bright for the place where it is?
Posted 18 September 2006 - 01:10 AM
I think her white collar should bounce some light into her right cheek and earring.
But i don't really understand why you want to talk about this instead of just trying it out. You have all the lights you'll ever need for this, just set something up and compare it with the picture. You can talk for ages about it, but it all changes when you turn one light on.
Edited by Alex Wuijts, 18 September 2006 - 01:11 AM.
Posted 18 September 2006 - 11:02 AM
How about this for a GREAT site. There a many close shots of the painting. Look at "images". With regards to the eye light there is a small subtle highlight in her left eye. There is a soft shadow under her turban and her chin which would indicate a soft source over the camera high enough to not be seen in the eye. A look at #8 the close up on the earring shows the hot key from the left but also the soft key directly above the painter.
Posted 18 September 2006 - 11:18 AM
Posted 18 September 2006 - 02:31 PM
"Sorry have to disagree , she is lit from one source a north facing window hence very soft light ,how would the painter have managed a "hot" source from above him in 1700 what ever ? John Holland , London ."
Well, I am no expert, but I suppose that painters like Vermeer did not actually paint what they saw... I thought the created the lighting conditions in the canvas. That is why some paintings from the same period have "impossible lights"... when you start looking into them you wonder "where does that light come from!?" But, I repeat, it is just a supposition.
"But i don't really understand why you want to talk about this instead of just trying it out. You have all the lights you'll ever need for this, just set something up and compare it with the picture. You can talk for ages about it, but it all changes when you turn one light on."
You're definately right. But unfortunately, I will have the equipment for just one day... and I want to get it right in little time. And as I won't be using digital, I will have to picture it in my head, which I am not good at.
Thanks for the feedback!
No thoughts about the ratio?
Posted 20 September 2006 - 02:57 PM
Sorry have to disagree , she is lit from one source a north facing window hence very soft light ,how would the painter have managed a "hot" source from above him in 1700 what ever ? John Holland , London .
We get a good view of Vermeer's studio and lighting set up in 'The Music Lesson'.
The window goes to the top of the ceiling and other windows allow for a bit of bounce light.
Posted 20 September 2006 - 06:12 PM
Posted 02 October 2006 - 09:47 PM
As for fill on the fabric...if you research how he moves across the canvas when he works, you may find the the scarf was the last bit done, and may have been during a time when the sun had changed postion, as in season, or time of day. The waiting period for this type of paint to dry was as long as a year.
In other words, this lighting situation would have never really occured in one sitting, but in the months it could have taken him to finish it.
Posted 02 October 2006 - 10:26 PM
Posted 03 October 2006 - 07:55 PM
Here is a photo with lighting inspired by Vermeer:
I used a very large diffuser outside the window and fill is provided by flexifill and some white bedsheets.
Just saw them.
Very Painterly. The pix are small and for the quick glancer may pass as paintings.
Posted 05 October 2006 - 05:08 PM
The window light is diffused and directional. Fresnel is directional but more like undiffused, direct sun beam. How about a softbox as key at 10-11 o'clock. (Watch the nose shadow position in the painting) Maybe you can mount your fresnel on a Chimera hotlight softbox with a speedring? It doesn't have to be big softbox, a medium source close to the subject face has the same effect as a big source further away. Use white reflector mounted low at 4 o'clock to open up the shadow area. You can adjust the reflector to the head distance (or size) to vary the fill intensity, and you judge the degree of fill visually. Alternatively you can use a small fresnel as a very weak fill, placing it close to the camera axis below the head level.
Edited by Sing Lo, 05 October 2006 - 05:09 PM.