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LIGHTS&LAMPS
Syrian-born British cinematographer and artist Ali Asad has spent decades shaping stories through light.
From feature films and music videos to fine art, his work is rooted in the belief that light isn't simply something we see by—it's something we feel.
We visited Ali at his Suffolk home to talk about atmosphere, the influence of painting on cinematography, and why the most memorable spaces are lit with intention rather than brightness.
How did your relationship with light begin?
It really started when I was studying art. We spent a lot of time looking at Renaissance paintings and Dutch masters like Vermeer, studying the way they used soft, directional light. That fascinated me. Light became part of the drawing rather than something separate from it. Later, when I moved into cinematography at Goldsmiths, that understanding became essential. As a cinematographer you're constantly creating mood through light, and I've carried that way of thinking with me ever since.
Has working in film changed the way you light your own home?
Completely.
We don't really have ceiling pendants switched on in the traditional way because I prefer lighting from different corners of a room. Directional light creates atmosphere. It gives a space depth and character rather than flooding it with brightness. Sometimes a central light has its place, particularly if it's beautifully softened, but I always think the most interesting rooms are built through layers of light. A lamp in one corner, another gently lifting the shadows elsewhere—it's those combinations that make an evening feel different. Lighting should never just illuminate a room. It should shape how you experience it.
You mentioned Suffolk has some of the most beautiful light you've experienced. What makes it so special?
The quality of the light here is extraordinary.
In early spring especially, the sun sits at such an angle that it creates these incredibly long shadows you don't often find elsewhere. Then you have the clouds. The Suffolk sky softens everything. The diffusion is remarkable—it flatters landscapes, architecture and people in a way that's very difficult to describe until you've seen it.
It's no coincidence that artists like Constable painted here. When you look at his landscapes, you realise the light wasn't just illuminating the scene—it was part of the subject itself.
After spending a career lighting films, what do you think people often overlook about lighting at home?
People often think about brightness before they think about feeling.
On a film set we're always asking what emotion the light should create. Homes deserve the same consideration. A room doesn't need more light—it needs the right light.
Even a single lamp placed thoughtfully can completely change the atmosphere. That's what makes a space welcoming. That's what makes you want to stay there.
Your work spans film, photography and art. Is there one idea that connects them all?
It's always been about people.
The technical side matters, but only because it helps tell a story. Whether I'm making a film, creating an artwork or photographing someone, I'm interested in making people feel something.
That's why I like projects that have a human story behind them. Objects become more meaningful when they're part of someone's life rather than simply being something to look at.
Light has the ability to do that. It quietly shapes how we remember a place, a moment or a feeling, often without us even realising it.
Featured - Ali Asad
Creative Director & Photographer - Frankie Markot
Videographer - Sam Binstead
Watch episode 1 of 'What the Light Sees with Ali Asad'
See Ali's selected designs from lights&lamps
