8 Foreword Baz Luhrmann and Catherine Martin

10 Introduction

81 Françoise’s Journal

82 Photographs in Life Cycle Phases

316 The Cinematographers

334 The Photographers

336 The Italians

370 Reference

371 Biography

372 Awards

372 Publications

372 Exhibitions

273 Letters

376 Index

382 Lines/Acknowledgments

Contents

8 Foreword Baz Luhrmann and Catherine Martin

10 Introduction

81 Françoise’s Journal

82 Photographs in Life Cycle Phases

316 The Cinematographers

334 The Photographers

336 The Italians

370 Reference

371 Biography

372 Awards

372 Publications

372 Exhibitions

273 Letters

376 Index

382 Lines/Acknowledgments

Contents

88 | Christie Brinkley, NYC, 1981 Sherilyn Fenn, 1990; followed by: Adlin, Hollywood, 1996 next to Sarah Miles, London, 1963 | 89

88 | Christie Brinkley, NYC, 1981 Sherilyn Fenn, 1990; followed by: Adlin, Hollywood, 1996 next to Sarah Miles, London, 1963 | 89

14 15

14 15

142 | Aboriginal Australian Children, North Western Australia, 2007 Lone Child in Beirut mansion, Lebanon, 1964 | 143

142 | Aboriginal Australian Children, North Western Australia, 2007 Lone Child in Beirut mansion, Lebanon, 1964 | 143

188 | Mademoiselle Chanel, Paris, 1962; at right: Elena Bespalova, Hollywood, 1995 25

188 | Mademoiselle Chanel, Paris, 1962; at right: Elena Bespalova, Hollywood, 1995 25

The Cinematographers | 311312 | The Cinematographers

Early in 1991, Françoise and I were in Rochester, New York, with Kodak, where I had just finished an educational television show. We had a meeting with the motion picture division to discuss working on a series of ads called ON FILM portraying cinematographers and directors. Bob Fisher in California had created the original concept. I immediately felt a sense of ex-citement at the possibilities of working in a controlled studio environment using medium format fine grain film for maxi-mum photographic quality, since we were addressing a group who would clearly see the difference, and suggested that each subject should be given a print of the final image. This was the beginning of an enormously stimulating black-and-white campaign, which has run on a monthly basis until recently. In the course of this work, Bob and I traveled to Poland on two occasions to Camera Image, a cinematography festival where we had the opportunity to meet and photograph many of the great international figures in the field such as the late Henri Alekan, Philippe Rousselot, Vittorio Storaro, only to name a few. Through the years, I have been fortunate enough to develop close personal relationships with many of the people I photographed— John Bailey, Haskell Wexler, Vilmos Zsig-mond, Owen Roizman, Ellen Kuras, Steven Poster, the late Lazlo Kovaks, and many more, a lot of them Academy Awards nominees or winners. This eventually led to my being invited to join the American Society of Cinematographers, the ASC, as an associate member in the late ’90s. The photographs from this series have been exhibited at the Academy of Motion Pic-tures Arts and Sciences and the Art Director’s Club in New York, and they are in the permanent collection at the Eastman House in Rochester. To this date I have photographed more than 250 individuals for this campaign. In 2010, I had the un-expected honor of receiving the ASC President’s Award. Now making it even more special, my son Mark, senior director of The Simpsons television show, was invited to join as an associ-ate as well. Our nametags sit side by side at events making me proud and happy. I am not the type of person who normally enjoys club life, but the ASC had provided me with a comfort-able home and interesting world among these friends.

Cinematographers & The American Society of Cinematographers

Left to right, first row: Robert Primes, ASC; Billy Williams,OBE, BSC; Bill Roe, ASC; Second row: Amy Vincent, ASC; Bill Butler, ASC; Bill Dill, ASC; Third row: Aaron Schneider, ASC; Alan Caso, ASC; Bill Bennett, ASC; Fourth row: Steven Poster, ASC; Stuart Drysburgh, ASC; Thomas Ackerman, ASC

The Cinematographers | 311312 | The Cinematographers

Early in 1991, Françoise and I were in Rochester, New York, with Kodak, where I had just finished an educational television show. We had a meeting with the motion picture division to discuss working on a series of ads called ON FILM portraying cinematographers and directors. Bob Fisher in California had created the original concept. I immediately felt a sense of ex-citement at the possibilities of working in a controlled studio environment using medium format fine grain film for maxi-mum photographic quality, since we were addressing a group who would clearly see the difference, and suggested that each subject should be given a print of the final image. This was the beginning of an enormously stimulating black-and-white campaign, which has run on a monthly basis until recently. In the course of this work, Bob and I traveled to Poland on two occasions to Camera Image, a cinematography festival where we had the opportunity to meet and photograph many of the great international figures in the field such as the late Henri Alekan, Philippe Rousselot, Vittorio Storaro, only to name a few. Through the years, I have been fortunate enough to develop close personal relationships with many of the people I photographed— John Bailey, Haskell Wexler, Vilmos Zsig-mond, Owen Roizman, Ellen Kuras, Steven Poster, the late Lazlo Kovaks, and many more, a lot of them Academy Awards nominees or winners. This eventually led to my being invited to join the American Society of Cinematographers, the ASC, as an associate member in the late ’90s. The photographs from this series have been exhibited at the Academy of Motion Pic-tures Arts and Sciences and the Art Director’s Club in New York, and they are in the permanent collection at the Eastman House in Rochester. To this date I have photographed more than 250 individuals for this campaign. In 2010, I had the un-expected honor of receiving the ASC President’s Award. Now making it even more special, my son Mark, senior director of The Simpsons television show, was invited to join as an associ-ate as well. Our nametags sit side by side at events making me proud and happy. I am not the type of person who normally enjoys club life, but the ASC had provided me with a comfort-able home and interesting world among these friends.

Cinematographers & The American Society of Cinematographers

Left to right, first row: Robert Primes, ASC; Billy Williams,OBE, BSC; Bill Roe, ASC; Second row: Amy Vincent, ASC; Bill Butler, ASC; Bill Dill, ASC; Third row: Aaron Schneider, ASC; Alan Caso, ASC; Bill Bennett, ASC; Fourth row: Steven Poster, ASC; Stuart Drysburgh, ASC; Thomas Ackerman, ASC