One frame from Netflix's "Ripley" reveals 5 photography...

Hey — it’s Oli

Super happy so many of you replied my last mail. 🥳
Reader JL, suggested we do Netflix’s “Ripley” next. You can suggest too.
So today, we look at how Robert Elswit, the cinematographer, nailed this shot filled with photography technique & symbolism. ⤵

Composition

Principle 1 - Rule of Thirds (Red)

This one is basic, but in the 16:9 frame, Tom Ripley’s noggin’ is in the intersection of the left upper third. His body in the left third line. A basic principle to build up on.

Your takeaway:

The rule of thirds doesn’t automatically make a photo good. Use it more as a simple rule to build upon… or to break (See the series Mister Robot).

Principle 2 & 3 - Framing (Green)

The wall on the left & the cage on the right provide a natural frame for the action. At the same time, it acts almost voyeuristic. In the scene Ripley hears someone upstairs. It’s almost like we are the ones that get to view him in the act through the window… the last thing he wants. As a bonus the frame brings a sense of balance and calm to a scene, where the protagonist is neither.

Your takeaway:

Frames within your frame are interesting… but think about its function.
Should it act as window to look in or act in the same way as leading lines do, to direct they eye of the viewer?

Principle 3 - Homage to the Square (Blue)

It’s simply neat that the frame from principle 2, makes a square frame out of a 16:9. It lends to the era a little. When the square 6×6 frame was more common. No takeaway.

Principle 4 - Leading lines (Teal or light blue)

The leading lines are fantastic. It’s Ripley’s intention to pull the body down, but the handrail leads the eye from Ripley to the shadow, to the dead body up toward the unseen voice — coming from the place he desperately wants to escape.

Your takeaway:

This clever use of leading lines and geometry pushes the narrative forward, both literally and metaphorically. As photographers, we should remember the power of architectural elements to guide the viewer’s eye and add tension to the frame. 

Principle 5 - The Shadow (Orange)

This is brilliant. The real Ripley hold the victim’s feet. The much larger, looming shadow, dead centre, seems to hold the victim’s torso and head. In a sense it acts like a double exposure almost.

Your takeaway:

Pay attention to shadows, in your photography. How can it be a part of your photo? For added points: what role does / should it play?

Lighting

The light cuts through the scene, sharp and unforgiving. Ripley’s caught in it, while the shadows stretch in front og him. This isn’t friendly light; its harsh, it’s light that exposes, light that divides. In this scene, it’s the shadows which reign.

Your takeaway:

You don’t always need the softest light. This scene wouldn’t have worked otherwise. We’re often so caught up in soft window light or huge soft boxes. Hard light works too. See Helmut Newtown’s lighting for further inspiration

Camera Gear, Techniques & Settings

Now, the depth of field here is deep. It keeps Ripley sharp, but doesn’t overly soften the environment. A 35mm or 50mm lens likely does the job. You don’t want vastness here. You want to constrict. It’ll box the subject in, and give the photo purpose.

Your takeaway:

You could’ve zoomed in with an 85mm for the same effect, without the framing from principle 2 (green). But you will become a better photographer if you can use the environment to do this instead. 

Visual Storytelling (The star of the show today)

Look at that shadow looming over him—it’s not just there for effect. It’s an external depiction of his transformation. The body is the weight of what he’s done.

Your takeaway:

Shadows don’t just fill space—they can carry meaning. You don’t need to stage a crime scene to get this. Play with shadows, use them as symbols, let them hint at what’s not being said in your photos.

How to recreate the shot / lighting

1. Find a staircase with ornate railings, & get a friend to play dead. 😉

2. Set up a harsh light source, but pay attention the distances.

3. The light's gotta be close to your subject

4. Your subject needs some space from the wall. This is crucial. It's what gives that shadow room to stretch and grow.

5. Remember, the further subject is from the wall, the bigger and more distorted that shadow gets.

6. It's all about geometry. Play with it. Move things around. You'll see the shadow shift and warp.

7. Use a wide lens, around 35mm to 50mm

8. Shoot Raw to convert to BW in post.

9. Frame the shot to include the surrounding environment

Edit in Lightroom

1. Crank up the contrast

2. Boost shadows and blacks slightly

3. Lower highlights to control bright spots.

4. Add grain for a film look

5. Sharpen selectively, focusing on Ripley and the railing

6. Vignette the corners slightly

7. Add a vignette to pull focus inward.

PS: This simple but powerful setup from Blackkklansman is coming next week. Thanks CM for suggesting.