Caravaggio and Emma Simcock-tooth both used very similar lighting techniques in their paintings that help contrast the figures from the dark and sinister looking background. The photographs both show a man showing his peers a wound. The original and more biblical photo by Caravaggio showed the man prodding what looks like a knife wound whilst the remake by Simcock concentrates on a more modern theme of a bullet wound. Lighting is a very important aspect of both artists styles exclusively allowing Caravaggio to focus on a style of painting that has a large aspect of realism with exceptional chiaroscuro and the artist's aptitude to emphasise the large amount of free space in the background.

Caravaggio's concentrated level of realism was hardly appreciated by his peers. The thinkers behind the Council of Trent believed natural and free art should be what is ideal unlike the Mannerist fantasies that had been in style, but of course Caravaggio decided his ideas were quintessential. 
Caravaggio includes a lot of detail, from the miniscule structure of the subject’s dirty fingernails, to the filthy bottoms of feet, to the bruises and worm holes on apples and the holes in pierced ears. This amount of realism and accuracy is glorified around Caravaggio’s work nowadays as well as his recognisable experimentations with soft light, illuminating and bouncing off his figures and the unlit, sombre background that contrasts this highly.

Caravaggio used these tactics to draw in the viewer and treat them as another person in the photo as the way he manipulated space and extended the action of his composition beyond the picture plane it would often feel like you were in the multi-dimensional painting. You can see this in the painting ''Supper at Emmaus'' which is so realistic it is almost as if the fruit basket could fall out on to the viewers feet. However, this and other pieces of Caravaggio was often criticised for being overly surreal and indecourous due to his less sophisticated techniques. Nonetheless, Caravaggio's ability to depict religious scenes with an unprecedented approachability and the most human of feelings and sentiment provided invaluable inspiration for artists throughout the ages, including such masters as Rubens, Velazquez and Rembrandt.