American Cinematographer - January 2017 - 32

Top: The couple
moves into a new
apartment in
Tehran. Middle:
Director Asghar
Farhadi (left) and
cinematographer
Hossein Jafarian (far
right) study a scene.
Bottom: Jafarian
and Farhadi plan
their move.

light a scene is to try to cater to that, so you
don't see many stands on the set. When the
actors show up, they're free to move in any
direction they want." Iranian cinema, he
adds, is mainly shot on location: "We shot
everything on location with minor tweaks to
get what we wanted. The only thing we
built was the set for the play Death of a
Salesman."
For each location, Jafarian designed
a single lighting setup, which could be
modified with what he describes as "minor
tweaks. Farhadi does a lot of takes, so to
accommodate that kind of work we had to
be quick. And we didn't have any storyboards. When we showed up on set, he
would share his ideas of what he wanted,
and we'd rehearse with the actors."
Jafarian mentions his work with
director Jafar Panahi on Crimson Gold and
with Abbas Kiarostami on Through the
Olive Trees as examples of this naturalistic
style. "Lighting for 360 degrees makes my
job more difficult, but I don't want to limit
the director, so I think it's a good approach,"
he offers. "Mostly I'd attach lights to the
ceiling and control them or flag them
accordingly. To get a different look for each
location, I'd use different types of lights." In
the couple's home, Jafarian mainly used
fluorescent units on the ceiling, and for a
cooler look in their abandoned apartment,
he supplemented fluorescents with HMIs
from outside.
➣
32

January 2017

American Cinematographer



Table of Contents for the Digital Edition of American Cinematographer - January 2017

Contents
American Cinematographer - January 2017 - Cover1
American Cinematographer - January 2017 - Cover2
American Cinematographer - January 2017 - 1
American Cinematographer - January 2017 - 2
American Cinematographer - January 2017 - Contents
American Cinematographer - January 2017 - 4
American Cinematographer - January 2017 - 5
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American Cinematographer - January 2017 - 48a
American Cinematographer - January 2017 - 48b
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