<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"><html xmlns="http://www.w3.org/1999/xhtml"><head>
<meta http-equiv="Content-Type" content="text/html; charset=UTF-8" />
</head><body>
<p><br /></p>
<blockquote type="cite">
<p>On 06 October 2015 at 13:14 Bill Nelson via Stagecraft <stagecraft@theatrical.net> wrote:<br /><br /><br />> Real close Michael, Stanley if I remember correctly did not use the<br />> terms key and fill (those being more photography terns and uses) but was<br />> big on the warm and cool concept at 45 deg angles. A couple of years ago<br />> I had a guy who was a photographer who wanted to learn about theatre<br />> lighting with a community theatre group I do a lot of work with. He<br />> still wants to call all front lights a key or fill lights. It is a<br />> constant battle with him and a couple of the other designers who keep<br />> asking me what he is talking about.<br /><br />All the basic concepts are the same as for theatrical lighting. The simplest<br />solution might be to just learn the photographic terminology. After all,<br />theatrical lighting IS more complex than standard photographic portraiture<br />lighting.<br /><br />However, the photographer is wrong if he believes the key light is always from<br />the front.</p>
</blockquote>
<p><br /></p>
<p>Certainly. I have worked for many years in a theatre designed on Tyrone Guthrie principles. There is no 'front'. My aim has alwqays been to have all the actors faces properly lit, in accordance with the set design. This is sometimes hard to achieve. With a 180 degree audience wrap, it needs a lot of thought.<br /></p>
<blockquote type="cite">
<p><br />Bill<br /><br /><br /><br />____________________________________________________________<br />For list information see <http://stagecraft.theprices.net/><br />Stagecraft mailing list<br />Stagecraft@theatrical.net<br />http://theatrical.net/mailman/listinfo/stagecraft_theatrical.net<br /></p>
</blockquote>
</body></html>