In my role as head of a video production company and broadcast lecturer, ensuring that everyone on screen is visually represented in the best possible way is both a responsibility and a challenge. For years, darker-skinned characters have faced chronic misrepresentation due to inadequate lighting techniques, a problem rooted in the history of film.
While strides have been made toward diversity in casting and recognition, the conversation about the aesthetics of representation remains underexplored. It is not just about who appears on screen but how they are seen, especially for people with darker skin tones.
Emil Collins, left and Adjoa Andoh, on set of Ben Aaronovitch’s Future Worlds Prize for Fantasy & Science Fiction Writers of Colour 2022 (Emil Collins /Socialize Media Films Limited )
In July 2024, Adjoa Andoh, who plays Lady Danbury on Netflix’s Regency-era show “Bridgerton,” (The streamers 5th biggest release) says the series still doesn’t light Black skin properly, despite its diverse cast.
Adjoa Andoh, left, and Daniel Francis sit in a pew as Lady Danbury and Lord Anderson in an episode of Netflix’s show “Bridgerton.” (Liam Daniel / Netflix)
Adjoa Andoh and Golda Rosheuvel on the set of Bridgerton season three LIAM DANIEL/NETFLIX
Katja Herbers and Mike Coulter on the set of Evil Season 1 CBS
“The continuing conversation about lighting Black skin — on every show, nothing’s changed,” she said in a recent podcast.
Andoh, who also had roles in films “Invictus” and “Fractured,” expressed that and other frustrations during the latest episode of “Stirring It Up.” Despite playing one of the sharpest and most influential women on “Bridgerton,” Andoh said, she doesn’t feel empowered in her career.
She said she feels comfortable speaking up now, but noted that the burden Black actors face to ask for what they deserve can be exhausting, especially compared with their white counterparts.
Historically, black actors have been disadvantaged by poor lighting, Ava DuVernay, director of 13th, has spoken out against this practice, emphasizing the need to light all actors thoughtfully. Cinematographers like Ava Berkofsky, who has pioneered techniques to enhance the appearance of black skin on shows like Insecure. Simple but impactful strategies—such as ensuring actors’ skin is well-moisturized to reflect light effectively—have significantly elevated on-screen representation.
Lighting should sculpt, not bleach, skin tones. This principle, evident in films like Boyz N the Hood and She’s Gotta Have It, is complemented by advances in digital technology. The power of these techniques is exemplified in films like Moonlight, where dark skin is rendered luminous under blue-tinted lighting.
A new generation of cinematographers, including Bradford Young (Selma, Pariah), James Laxton (Moonlight), and Rachel Morrison (Fruitvale Station) are revolutionizing the industry. Many, like Young, trained under pioneers such as Haile Gerima at Howard University, where the importance of cultural representation was deeply ingrained. These cinematographers build on a foundation laid by the likes of Ernest Dickerson and Arthur Jafa, creating works that challenge biases inherent in filmmaking technology. For instance, light meters and film calibrations historically prioritized white skin, sidelining accurate representation for people of colour.
The journey toward equitable representation on screen is intertwined with addressing these biases. Technological advancements now allow filmmakers to represent all skin tones accurately, but the real challenge lies in the industry’s will to embrace these tools. Films like Mudbound, Dope, and shows like Insecure showcase the rich diversity of blackness, moving beyond outdated tropes to celebrate darker skin tones and natural hair. This shift is about more than visibility—it’s about creating aspirational, nuanced portrayals of black lives.
Decolonizing the screen means acknowledging and addressing the historical erasure and neglect of darker-skinned actors. By embracing their beauty and richness, filmmakers can challenge the systemic biases that have long shaped cinematic representation. It’s time to move beyond shadows and bring the universe of blackness into the light.
This is why I have decided to research how I can decolonise content creation education by integrating techniques for lighting darker skin into my teaching practice and create the appropriate reference and teaching resources.