We are featuring various Cinematographers who were recently nominated for Oscars® on our homepage. Here is a bit more about each one of these very talented artists who paint with light...

Maryse Alberti - The Wrestler

Director Darren Aronofsky and Cinematographer Maryse Alberti discuss scenes on the set of The Wrestler. Photograph by NikoTavernise/Protozoa Pictures.

Maryse Alberti broke into the industry as a still photographer on low-budget films. She went on to work as a camera assistant on documentaries, which led to opportunities to shoot nonfiction films. Alberti earned her first narrative film credit in 1991 for Poison. She is compiling an eclectic body of work, including some 50 documentary, narrative feature and television credits. Alberti earned cinematography awards at the Sundance Film Festival for the documentaries H-2 Worker in 1990, and Crumb in 1995. She won an Independent Spirit Award in 1999 for Velvet Goldmine, and was nominated in 2005 for We Don't Live Here Anymore and in 2009 for The Wrestler.

Her credits also include the feature films Happiness, Zebrahead, Joe Gould's Secret, Get Over It, episodes of Sex and the City, and the documentaries Enron: The Smartest Guys in the Room, When We Were Kings, All Aboard! Rosie's Family Cruise, The Power of the Game, Gonzo: The Life and Work of Dr. Hunter S. Thompson, and the Oscar-winning Best Documentary Taxi to the Dark Side. In 2006, she was the recipient of the Kodak Vision Award at the Women In Film Crystal + Lucy Awards.

"You have to master your tools to stay in the creative zone. It begins with knowing what you want the images to look like and why. We lit with everything from an 18K to just a flashlight that The Ram turns on after entering his van. That was the only light in that shot."

KODAK VISION2 200T 7217 film and KODAK VISION3 500T 7219 film were used to shoot The Wrestler. More information on Kodak's role with The Wrestler here. 

Ellen Kuras, ASC, The Betrayal

Ellen Kuras, ASC, photograph by Douglas Kirkland.

Kuras majored in anthropology at Brown University. After graduation, she took a course in Super 8 filmmaking, and explored combining her interests in anthropology and film. She took jobs on documentaries, ranging from production assistant to soundtrack editor and camera assistant. Her first documentary, Samsara: Death and Rebirth in Cambodia, earned the 1990 Sundance Film Festival Jury Award. Her first narrative feature film, Swoon, was released in 1992, which garnered the first of two Independent Spirit Award nominations for Best Cinematography for Kuras.

The other nomination came in 1993 for Personal Velocity: Three Portraits. Kuras has earned Emmy nominations for her contributions to Spike Lee's Academy Award® - nominated documentary 4 Little Girls and for the miniseries A Century of Women. In 1996, she was honored with the Kodak Vision Award at the Women In Film Crystal Awards. Kuras is a three-time recipient of the Sundance Film Festival's Best Cinematography Award. Her diverse body of work includes I Shot Andy Warhol, The Mod Squad, Summer of Sam, Bamboozled, Blow, Coffee and Cigarettes, Eternal Sunshine of the Spotless Mind, The Ballad of Jack and Rose, Neil Young: Heart of Gold, Be Kind Rewind, and the upcoming Away We Go with director Sam Mendes.

"Depending on the subject, a documentary can be visual poetry that illustrates the words or the cinéma vérité. In traditional documentaries, people tend to edit interviews or they write narrations and use images to illustrate what is being said. I learned how to use dramatic lighting to tell stories, so the images are a visual metaphor that adds layers of meaning as unspoken subtext. It is a more poetic approach. Making The Betrayal influenced how I ultimately see the world as a cinematographer."

Kuras estimates that she used over a dozen Kodak stocks over 23years including Super 8, 16, and 35mm film formats. The Betrayal received an Oscar noination for Best Documentary Feature: Ellen Kuras, ASC and Thavisouk Phrasavath.

More information on Kodak's role with The Betrayal here. 

Wally Pfister, ASC - The Dark Knight

Cinematographer Wally Pfister, ASC on the set of The Dark Knight. Photograph by Stephen Vaughan/Warner Bros.

Wally Pfister, ASC was born in Chicago and raised in a New York City suburb. His father was a writer-producer who worked for ABC News. Early in his career, Pfister was a TV news and documentary cameraman in Washington, D.C. In 1988, Robert Altman began shooting Tanner '88 and hired Pfister initially as a B video camera operator for some scenes, which led to him becoming second unit cameraman. Pfister subsequently studied filmmaking at AFI.

After graduation, he worked on Roger Corman's camera crews before moving on to shoot independent features. His artful cinematography on The Hi-Line led to his collaboration with producer/ director Christopher Nolan on Memento in 2000. Pfister's credits include Insomnia, Laurel Canyon, Slow Burn and The Italian Job. This is his third Oscar nomination, having been previously honored for Batman Begins and The Prestige.

Cinematographer Wally Pfister, ASC (left) and director Christopher Nolan (right) on location in Hong Kong discuss a scene for The Dark Knight. Photograph by Stephen Vaughan/Warner Bros.

"Chris (Nolan) and I agreed that we would create the look in-camera and use physical rather than visual effects because we feel that makes the images more natural and believable. There is some sheen on Batman's cowl and the rest of his costume but his cape is absolutely matte black. He is a creature of the night. You just see his mouth and eyes behind his mask. Bruce Wayne and Batman share the same soul. You can see it in their eyes. We used soft light to put the same glow in both characters' eyes. There is also a little extra zing in Batman's eyes that is almost subliminal."

KODAK VISION2 500T 5218 and KODAK VISION2 250D 5205 were used to film The Dark Knight. More on the Kodak's role in The Dark Knight can be found here.

Roger Deakins, ASC, BSC and Chris Menges, BSC - The Reader

Cinematographer Roger Deakins, ASC, BSC on the set of The Reader. Photograph by Nadja Klier/2008 The Weinstein Company.

Roger Deakins, ASC, BSC was born and raised in the small seaside town of Torquay in Devon, England. He completed his education at the National Film School. After graduation, Deakins focused on documentaries for some seven years, on subjects ranging from the wars in Rhodesia and Eritrea, to a nine-month trip on one of the entrants in a yacht race around the world. He earned his first feature credit shooting the low budget Another Time, Another Place for Channel 4 television. He earns his eighth Oscar nomination for The Reader. His previous nominations were for The Assassination of Jesse James by the Coward Robert Ford, No Country for Old Men, The Man Who Wasn't There, O Brother, Where Art Thou?, Kundun, Fargo, and The Shawshank Redemption. His body of work also includes such unforgettable films as Doubt, Revolutionary Road, In the Valley of Elah, A Beautiful Mind, The Village, and Dead Man Walking.

Deakins on shooting The Reader; "My documentary experience taught me to trust my instincts and to work quickly and simply. (Director) Stephen Daldry and I agreed that composing images in 1.85:1 aspect ratio felt right for The Reader because it is an intimate story about two people who are both lovers and friends. We also chose to use a single camera and to unobtrusively concentrate on the performances because much of the story is told by the expressions on people's faces. I reluctantly left the film before we finished because of another commitment but Chris (Menges) and I have the same backgrounds and tastes."

Reader_Menges on set: Cinematographer Chris Menges, ASC, BSC on the set of The Reader. Photograph by Nadja Klier/2008 The Weinstein Company.

Chris Menges, BSC was born in England and raised in London. His grandfather had migrated from Germany to England, where he taught students to play the violin, and his father was the music director at the Old Vic Theater in London. Menges nurtured a boyhood passion for still photography. He also apprenticed in filmmaking with Allan Forbes, a neighbor whose roots were in the United States. Menges began his career during his early 20s shooting film for a weekly television documentary series. During that period, he spent 18 months in the jungles of Burma filming Opium Drug Wars, a documentary about a war between ethnic groups who were battling for control of land. Menges transitioned to narrative filmmaking in 1969 on the independent film Kes. He has earned Oscars® for The Killing Fields and The Mission (1986), and another nomination for Michael Collins.

Says Menges; "I believe your earliest impressions are important. Allan Forbes taught me how to see light, and how camera movement and composition influences how audiences experience stories. I'm a fan of Roger's (Deakins) cinematography, so I was happy to step into the breach. The Reader is a personal story, so we wanted to keep the cinematography as simple as possible with no distractions for the cast. Stephen (Daldry) also wanted a certain sense of anarchy of the set, along with a feeling of continuity and creative energy. Everyone played a role from the production and costume designers to the entire crew."

KODAK VISION3 5219, KODAK VISION2 5217, KODAK VISION2 5218 were used on this picture.

Tom Stern, ASC, AFC - The Changeling

Cinematographer Tom Stern, ASC, AFC on the set of Changeling. Photograph by Anthony Michael Rivetti.

Tom Stern, ASC, AFC was born and raised in Palo Alto, California. While attending St. John's College in Santa Fe, New Mexico, he photographed a film for a friend. He later enrolled in the graduate school film studies program at Stanford University, where he concentrated on lighting. Stern began his career working as a gaffer/first assistant on medical films and documentaries. Bruce Surtees, ASC gave him an opportunity to work with him as his gaffer on White Dog. Stern also was a gaffer on many Conrad L. Hall, ASC films. His work with Surtees led to a long-term association with Clint Eastwood, eventually as director of photography on Blood Work, Mystic River, Million Dollar Baby, Flags of Our Fathers, Letters from Iwo Jima and Gran Torino. His other credits include Romance & Cigarettes, Things We Lost in the Fire and Faubourg 36.

Stern says; "We envisioned the look as sort of a cool jazz version of Day of the Locust. Not that I have the talent of Conrad Hall, but that's what I was attempting. We tried to get the leanness of Mystic River going. There is a little more color in it than what we had been doing with the two previous films. It has a rich, yet muted palette. There is directness to these images - they are sort of 'in your face.' I was inclined to make things a little bit photojournalistic, but this story is really one woman's agony and journey. The basic objective was to give the artists room to act."

KODAK VISION 500T 5279 film was used on The Changeling.

Kodak is proud to work with these amazingly talented people who are an integral part of bringing stories to life.

-Tom

Kodak is once again well represented in the majority of films up for nominations at this years Academy Awards. We are proud to feature a series of them on our homepage and in our blogs:

The Wrestler

Mickey Rourke in a scene from The Wrestler. Photograph by NikoTavernise/Protozoa Pictures.

The Wrestler is the story of Randy "The Ram" Robinson (Mickey Rourke) who was a headlining professional wrestler in the late 1980s. Now, 20 years later, he ekes out a living performing for handfuls of die-hard wrestling fans in high school gyms and community centers. Director Darren Aronofsky presents a portrait of a battered dreamer, who despite himself and the odds stacked against him, lives to be a hero once again in the only place he considers home - inside the ring.

Cinematographer Maryse Alberti, broke into the industry as a still photographer on low-budget films. She went on to work as a camera assistant on documentaries, which led to opportunities to shoot nonfiction films. The film was shot in Super 16mm format partially based on a modest budget, but mainly it's a bit of an edgier look that we felt was right.

KODAK VISION2 200T 7217 film and KODAK VISION3 500T 7219 film were used to shoot The Wrestler which has received two Oscar nominations; Actor in a Leading Role: Mickey Rourke and Actress in a Supporting Role: Marisa Tomei

More information on Kodak's role with The Wrestler here.

The Betrayal

A scene from The Betrayal. Photograph courtesy of Ellen Kuras, ASC.

The Betrayal (Nerakhoon) is the directorial debut of renowned cinematographer Ellen Kuras, ASC, who spent 23 years working on the documentary in between shooting feature films. The film is a testament to the resilient bonds of family and an astonishing tale of survival. Moving seamlessly between intimate personal stories and political documentary.

Ellen Kuras' first documentary, Samsara: Death and Rebirth in Cambodia, earned the 1990 Sundance Film Festival Jury Award. In 1996, she was honored with the Kodak Vision Award at the Women In Film Crystal Awards. Kuras is a three-time recipient of the Sundance Film Festival's Best Cinematography Award. Her diverse body of work includes I Shot Andy Warhol, The Mod Squad, Summer of Sam, Bamboozled, Blow, Coffee and Cigarettes, Eternal Sunshine of the Spotless Mind, The Ballad of Jack and Rose, Neil Young: Heart of Gold, Be Kind Rewind, and the upcoming Away We Go with director Sam Mendes.

Kuras estimates that she used over a dozen Kodak stocks over 23years including Super 8, 16, and 35mm film formats. The Betrayal received an Oscar nomination for Best Documentary Feature: Ellen Kuras, ASC and Thavisouk Phrasavath.

More information on Kodak's role with The Betrayal here. 

The Dark Knight

Heath Ledger as The Joker in Warner Bros. Pictures' and Legendary Pictures' action drama "The Dark Knight," distributed by Warner Bros.Photo courtesy of Warner Bros. Pictures. TM & © DC Comics



Batman on his Bat-Pod in Warner Bros. Pictures' and Legendary Pictures' action drama "The Dark Knight," distributed by Warner Bros.Photo courtesy of Warner Bros. Pictures. TM & © DC Comics

The Dark Knight ^TM once again has Batman ^TM matching both wits and brawn with the forces of evil. Batman sets out to destroy organized crime in their city for good. At first effective, but soon find the city prey to a rising criminal mastermind known as The Joker ^TM.

Wally Pfister, ASC credits include Insomnia, Laurel Canyon, Slow Burn and The Italian Job. This is his third Oscar nomination, having been previously honored for Batman Begins and The Prestige. "Chris (Nolan) and I agreed that we would create the look in-camera and use physical rather than visual effects because we feel that makes the images more natural and believable. There is some sheen on Batman's cowl and the rest of his costume but his cape is absolutely matte black. He is a creature of the night. You just see his mouth and eyes behind his mask. Bruce Wayne and Batman share the same soul. You can see it in their eyes. We used soft light to put the same glow in both characters' eyes. There is also a little extra zing in Batman's eyes that is almost subliminal."

KODAK VISION2 500T 5218 and KODAK VISION2 250D 5205 were used to film The Dark Knight. The film was nominated for 8 Oscars; Actor in a Supporting Role: Heath Ledger, Art Direction: Nathan Crowley, Set Decoration: Peter Lando, Cinematography: Wally Pfister, ASC, Film Editing: Lee Smith, Makeup: John Caglione, Jr. and Connor O'Sullivan, Sound editing: Richard King, Sound mixing: Lora Hirschberg, Garry Rizzo and Ed Novick, Visual effects: Nick Davis, Chris Corbould, Tim Webber and Paul Franklin

More on the Kodak's role in The Dark Knight can be found here.

The Reader

Kate Winslet and David Kross in a scene from The Reader. Photograph by Melinda Sue Gordon/2008 The Weinstein Company

The Reader opens in post-World War II Germany when teenager Michael Berg becomes ill and is helped home by Hanna, a stranger twice his age. After he recovers, he seeks out Hanna to thank her. They are immediately drawn to each other and begin a secretive affair. During their trysts, Michael reads his favorite literature to Hanna. Hanna mysteriously disappears one day, leaving Michael heartbroken. Eight years later, Michael is now a law student observing the Nazi war crimes trials, he is stunned to see Hanna as a defendant in the courtroom. As her past is revealed, Michael uncovers a deep secret that impacts both of their lives.

The film used the talents of both Roger Deakins, BSC and Chris Menges, BSC as Cinematographer. Menges said of the film; "The Reader is a personal story, so we wanted to keep the cinematography as simple as possible with no distractions for the cast."

KODAK VISION3 5219, KODAK VISION2 5217, KODAK VISION2 5218 were used on this picture. The Reader has been nominated for 5 Oscars; Deakins and Mendes for Cinematography, Actress in a Leading Role: Kate Winslet, Directing: Stephen Daldry, Adapted Screenplay: David Hare and Best Motion Picture.

The Changeling

Angelina Jolie in a scene from Changeling. Photograph by Tony Rivetti, Jr.

The Changeling is based on actual events. On March 10, 1928, 9-year-old Walter Collins disappeared from his Los Angeles home. Six months later, his mother's prayers are answered when the kidnapped boy is returned. Amidst the photo-op reunion, she realizes the boy is not Walter. Facing corrupt police and a skeptical public, she desperately hunts for the truth.

Cinematographer Tom Stern, ASC, AFC began his career working as a gaffer/first assistant on medical films and documentaries. He has had long-term association with Clint Eastwood, eventually as director of photography on Blood Work, Mystic River, Million Dollar Baby, Flags of Our Fathers, Letters from Iwo Jima and Gran Torino.

KODAK VISION 500T 5279 film was used on the Changeling which earned three Oscar nominations; Cinematography for Stern, Actress in a Leading Role: Angelina Jolie, and Art Direction and Set Decoration

What a great year for the movies!

-Tom

Yellow walls

Blue walls

Brick walls and stone walls

Guess what the theme for the homepage images are this week? You guessed it - Walls!
We are featuring images on the homepage which use the wall in the background to add texture, pattern, contrast and highlighting the subject, ultimately creating the perfect backdrop.

Backgrounds can be tricky; sometimes they can be used to really help put the subject in the forefront, complimenting the image or they can be the tree growing out of Jonny's head. When taking pictures it is easy to miss just how much the background can add to an image. Next time you are out taking pictures before pressing the button take a moment to look, see what is happening in the background - it may just become the foreground of your image.

I must confess the singing in the beginning of this post was because while writing I hit a brick wall!

I truly hope you can take a few minutes and enjoy the images below as well as viewing them larger on the homepage. And don't forget when you have captured that fabulous picture submit it to picture of the day - you never know, it may be on the homepage someday!  



September 29, 2005
Doing Business    
Nir Fartouk    
Israel    

This picture was taken in Trinidad, Cuba.




April 12, 2004
Wash Day    
Bob Flounders    
United States    

Every where in Italy the colors are interesting, even on wash day! The picture was taken in Siena, Italy -- February 2004. I was attracted to the colors of the wall, clothes and pins holding the clothes up!




December 3, 2008
Jump!    
Denise Snyder    
United States    

My son and I went out in search of cool locations to try something new - this was collaboration between both of us and was so much fun to do!




July 5, 2007
Yellow Brick "Jump"    
Josue Gonzalez    
Mexico    

Just like Elton John's song, "Yellow Brick Road" ...but jumping!

- Paulette Brandes