Scaffolded thinking

As I was thinking about the use of technology and the way in which Tim's Vermeer project allowed him to work with aspects of light, dark and contrast, I was reminded of a Vermeer contemporary, Diego Valazquez.  He was born in 1599 in Seville, Spain and did his most productive work just prior to Vermeer's most productive years.   When I visited the Prado Museum, in Madrid, the work of Velazquez made an impression.  The piece with the strongest use of light was called, "The Drinkers," and can be seen below.

"The Drinkers" by Diego Velazquez

The human form seemed to be the primary subject of this era and the one before it, and many of the earlier paintings were commissioned by wealthy families to capture the images of powerful leaders and their family members in their finest regalia.  The seventeenth century began to reveal more images of the common person engaged in either daily activities or "evening" activities.  Many still contained a religious overtone, and either a secular warning or reminder.  

Once again it is the lighting in the work of Velazquez that is so engaging to me.  Not only does he contrast lights and dark in the technical aspects of painting, but he also uses light to reveal his true "hero" of the scene.  So, while the drinkers with the bowl of brew are the focus of the action, Baccus, is clearly the key figure if the emphasis if the lights and darks reveal the focus of the composition.  

Clearly the technical skills of Vermeer and Velazquez are outstanding.   We can learn a lot from the way in which each uses the light and contrasting lights and darks to paint their subject matter.   What are the take-aways for today's painters, in the way Vermeer and Velazquez use light to tell their story within the painted image is a subplot to the development process.   When telling a story or sending a social, political, religious, etc. message, how much do modern-day artists manipulate light and contrast to create emphasis?  How far can the use of light be manipulated before the image looks mystical or contrived?  Does the suggested use of optical mechanics diminish the impact of the Vermeer story?  How does that translate to the use of photographic equipment today?