Editing Chiaroscuro (section)

==Cinema and photography==
<!-- Deleted image removed: [[Image:Cherkasov.jpg|thumb|left|[[Nikolai Cherkasov]] as [[Ivan IV of Russia|Ivan the Terrible]] in [[Sergei Eisenstein]]'s film of the same name|{{puic|1=Cherkasov.jpg|log=2009 January 3}}]] -->
''Chiaroscuro'' is used in cinematography for extreme [[low key]] and high-contrast lighting to create distinct areas of light and darkness in films, especially in black and white films. Classic examples are ''[[The Cabinet of Dr. Caligari]]'' (1920), ''[[Nosferatu]]'' (1922), ''[[Metropolis (1927 film)|Metropolis]]'' (1927) ''[[The Hunchback of Notre Dame (1939 film)|The Hunchback of Notre Dame]]'' (1939), ''[[The Devil and Daniel Webster (film)|The Devil and Daniel Webster]]'' (1941), and the black and white scenes in [[Andrei Tarkovsky]]'s ''[[Stalker (1979 film)|Stalker]]'' (1979).<ref>{{Cite web|url=https://perfectpicturelights.com/blog/chiaroscurro-in-german-expressionism|title=Chiaroscurro in German Expressionism}}</ref>

For example, in ''[[Metropolis (1927 film)|Metropolis]]'', chiaroscuro lighting creates contrast between light and dark [[mise-en-scene]] and figures. The effect highlights the differences between the capitalist elite and the workers.

In [[photography]], chiaroscuro can be achieved by using "[[Rembrandt lighting]]". In more highly developed photographic processes, the technique may be termed "ambient/natural lighting", although when done so for the effect, the look is artificial and not generally documentary in nature. In particular, [[Bill Henson]] along with others, such as [[W. Eugene Smith]], [[Josef Koudelka]], [[Lothar Wolleh]], [[Annie Leibovitz]], [[Floria Sigismondi]], and [[Ralph Gibson]] may be considered some of the modern masters of chiaroscuro in documentary photography.

[[File:Barry12.jpg|thumb|Still from [[Stanley Kubrick]]'s 1975 film ''[[Barry Lyndon]]'', some of which was shot using only candlelight]]

Perhaps the most direct use of chiaroscuro in filmmaking is [[Stanley Kubrick]]'s 1975 film ''[[Barry Lyndon]]''.<ref>"Victorian Studies Bulletin". Northeast Victorian Studies Association, v. 9–11, 1985. 1984</ref> When informed that no lens then had a sufficiently wide aperture to shoot a costume drama set in grand palaces using only candlelight, Kubrick bought and retrofitted a special lens for the purpose: a modified Mitchell BNC camera and a Zeiss lens manufactured for the rigors of [[space photography]], with a maximum aperture of [[f-stop|f/0.7]]. The natural, unaugmented lighting of the sets in the film exemplified low-key, natural lighting in filmwork at its most extreme, outside of the Eastern European/Soviet filmmaking tradition (itself exemplified by the harsh low-key lighting style employed by Soviet filmmaker [[Sergei Eisenstein]]).

[[Sven Nykvist]], the longtime collaborator of [[Ingmar Bergman]], also informed much of his photography with chiaroscuro realism, as did [[Gregg Toland]], who influenced such cinematographers as [[László Kovács (cinematographer)|László Kovács]], [[Vilmos Zsigmond]], and [[Vittorio Storaro]] with his use of deep and selective focus augmented with strong horizon-level key lighting penetrating through windows and doorways. Much of the celebrated [[film noir]] tradition relies on techniques related to chiaroscuro that Toland perfected in the early 1930s (though [[high-key lighting]], stage lighting, frontal lighting, and other film noir effects are interspersed in ways that diminish the chiaroscuro claim).