Not much is known about George Tinsley Clemens, ASC, and I don’t understand why.  By any standard, he had a solid career, the majority of which was spent at Paramount.  Born in Joplin, MO on July 26, 1902, he entered the film industry as an assistant cameraman in 1923 and was a frequent collaborator … Continue reading “GEORGE CLEMENS, ASC”

         Yeah, that’s all I can say about this ad from the June 1962 issue of American Cinematographer.  Would you ever imagine a time during which a company thought it profitable to proclaim its aversion to computers?  Although the copy points out that it’s human creativity and artistry that really count, the headline made me … Continue reading “WOW…”

         There’s something about 1960’s print advertising that really sinks the hook.  Review any of the era’s popular publications – Life, Time, Newsweek, National Geographic – and you’ll discover an unforgettable selection of images and graphics.  American Cinematographer, a trade mag not known for its imaginative design at the time, nonetheless had moments in which … Continue reading “COOL ADS”

         The cinema verité documentary movement that reached its height in the 1960’s had broad-reaching effects on all of moviemaking, some to its benefit while others not.  Its most well-known practitioners – Robert Drew, Richard Leacock, Albert and David Maysles and D.A. Pennabaker – produced some interesting work, but I’ve always felt the premise was … Continue reading “TRUTH…OR SOMETHING ELSE?”

         LED technology has quickly turned many of our formerly common lighting units into antiques.  Rather than toss them on the heap, this ad from the May 1969 issue of American Cinematographer suggests an interesting tack.  It’s a sad sight in its way, though no doubt will present its own reward given the right choice … Continue reading “RECYCLING AT ITS BEST!”

         Earlier this year, I delivered several posts touting the virtues of certain cameras that I have used – and loved.  That might sound a bit strange, but the connections that developed were similar to the ones you’ve probably had with certain cars or musical instruments.  Though I never had the opportunity to shoot with … Continue reading “ONE OF MANY ALSO-RANS”

         Prior to the arrival of Garrett Brown’s Steadicam in the mid-70’s, options for moving the camera smoothly from Point A to Point B were limited to the use of dollies or cranes, all of which were cumbersome and required time and expertise to use.  Skipping the indulgence of a well-financed production, low-budget shows often … Continue reading “AN INTERESTING ANOMALY?”

         A few weeks ago, I enjoyed the rare privilege of attending a screening of John Ford’s classic western, The Searchers (1956) at the Aero Theater in Santa Monica.  Along with the fabled Egyptian Theater in Hollywood, this venue is part of the American Cinematheque, an organization that since 1985 has brought enthusiasts a wealth … Continue reading “A VERY SPECIAL EVENING”

         A few weeks ago, I got around to visiting the Academy of Motion Picture Arts and Sciences Museum in Los Angeles.  While I’m usually not one for pouring over collections of posters, props and costumes from notable movies, I was intent on seeing the special exhibition on The Godfather trilogy.          To be honest, … Continue reading “SAINTLY RELICS”

         A few weeks ago, I posted a pair of letters from Apollo 11 astronauts Neil Armstrong and Buzz Aldrin that politely declined membership in the East Coast wing of the cinematographer’s union, at the time known as Local 644.          While the first men to walk on the moon seemed to have had no … Continue reading “A SKY-HIGH HONOR”