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Architecture's influence is subtler in his photographs of people on the street: a stray ray of light, sneaking through buildings, briefly illuminates the face of a passerby, the sharp natural light lending a cinematic drama.
Recognizing this, Mr. Pullman keeps his touch light, lending the stories a plain-spoken, casual voice and respecting the strange transformations, reversals of fortune and patterns of three that give them their power.
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This light lends the craggy landscape a hot coppery radiance that seems to emanate from inside the earth.
There are wonderful paintings by artists you've never heard of, from museums you may never visit, notably Egbert van der Poel's "Barnyard Scene" of 1658, an orchestration of coppery browns, tenderly rendered farm equipment and fading afternoon light, lent by the Museum for Foreign Art in Riga, Latvia.
Hale readied herself, the booth's track lighting lending her face a glossy ivory glow.
Silk shades soften the lighting, lending a gauzy glow to brick and beige walls; pin lights in swagged sheers at the front window and in trees at the back lend a festive touch.
Dishes arrive on wooden boards, but the open kitchen and sleek lighting lend a more urban feel to the décor.
Sanda Herzic's stark staging and Marie Bellot's sympathetic lighting lent the production an air of ritual.
All that handheld camerawork and washed-out lighting lend a documentary air but Getting On is more intimate than that.
Mark Thompson's painterly backcloth and Neil Austin's purple-hued lighting lend the production a definable Russian-ness.
The set designer George Tsypin contributes a tableau of columnar Plexiglas forms; James Ingalls's lighting lends sombre majesty to the cavernous space of the Felsenreitschule.
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Justyna Jupowicz-Kozak
CEO of Professional Science Editing for Scientists @ prosciediting.com