An Introduction to Film

essential of these three sources. The overall char-
acter of the image is determined mainly by the rela-
tionship between the key and fill lights. The key
light(also known as the main, or source, light) is the
primary source of illumination and therefore is cus-
tomarily set first. Positioned to one side of the cam-
era, it creates hard shadows. The fill light, which is
positioned at the opposite side of the camera from
the key light, adjusts the depth of the shadows
created by the brighter key light. Fill light may
also come from a reflector.
The primary advantage of three-point lighting is
that it permits the cinematographer to adjust the
relationship and balance between illumination and
shadow—the balance between the key and fill
lights—a balance known as the lighting ratio.
When little or no fill light is used, the ratio between
bright illumination and deep shadow is very high;
the effect produced is known as low-key lighting.
Low-key lighting produces the overall gloomy
atmosphere that we see in horror films, mysteries,

psychological dramas, crime stories, and film noirs,

where its contrasts between light and dark often

imply ethical judgments.

High-key lighting,which produces an image

with very little contrast between the darks and the

240 CHAPTER 6 CINEMATOGRAPHY

Three-point lightingIn the history of over-the-top mise-
en-scène, few directors surpass Josef von Sternberg. The
Scarlet Empress(1934; cinematographer: Bert Glennon), a
ravishing, high-camp historical drama, is also the director’s
visual tribute to the allure of Marlene Dietrich, who plays
Russian empress Catherine the Great. Von Sternberg
consistently photographs her with three-point lighting that
accentuates her exquisite beauty. In this example, notice how
the key light, positioned to the side and slightly below the

actor, casts deep shadows around her eyes and on her right

cheek; the fill light, which is positioned at the opposite side of

the camera from the key light, softens the depth of the

shadows created by the brighter key light; and the backlight

(a von Sternberg trademark in lighting Dietrich), which is

positioned behind and above, lighting both sides of the actor,

not only creates highlights along the edges of her hair but

also separates her from the background and thus increases

the appearance of three-dimensionality in the image.

High-key lightingGeorge Lucas’s use in THX 1138(1971;

cinematographers: Albert Kihn and David Myers) of an austere

setting and intense white lighting that creates a shadowless

environment is as chilling as the futuristic society it records.

This society has outlawed sexual relations and controls

inhabitants with a regimen of mind-changing drugs. Those

who rebel are thrown into a prison that is a vast, white void.

Fill light

F K

Key light

Back light

B

Camera