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Historical
Owen Roizman on Filming The Exorcist
The director of photography on what may be the most shocking film ever made describes the unique problems and challenges involved in translating a best-selling novel into stunning visual images.
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Historical
On Location With Ryan’s Daughter
American Cinematographer editor journeys to an isolated corner of Ireland to observe filming of this new David Lean production.
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Historical
Multiple-Image Technique for The Boston Strangler
System of presenting several scenes in panels on the screen simultaneously adds up to exciting method for telling a complex story on film.
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Historical
Shadows: Experimental Film Venture
Looking at John Cassavetes’ directorial debut — a film pieced together on the fly that resulted in extensive critical praise.
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Historical
BAT-MATOGRAPHY or Capturing Batman on Film
What with Batmobiles, Batcopters, Batcycles and multi-colored Bat-finks, a cinematographer on America's most popular show could go bats — but like ZOWIE! It's fun!
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Historical
Photographing the Films of Ingmar Bergman
In striving for realism in his photographic lighting, Bergman’s cameraman finds the new, fast black-and-white emulsions extremely helpful.
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Historical
Filming La Dolce Vita in Black-and-White and Widescreen
Production filmed in Rome reveals some interesting techniques employed by Italian cinematographer Otello Martelli.
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Historical
The Dramatic Photography of Who’s Afraid of Virginia Woolf?
Inspired camerawork is all-of-a-piece with brilliantly cinematic filmization of famous stage drama.
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