Cinematographers

Among the foremost technical innovators in his field, a charter member of the American Society of Cinematographers, English-born Charles Rosher had initially aimed for a diplomatic career. Fortunately, he chose a different career option and attended lessons in photography at the London Polytechnic in Regent Street. He must have been a keen student, for he found himself apprenticed to noted portrait photographers David Blount and Howard Farmer, soon afterward becoming assistant to Richard Neville Speaight (1875-1938), the official Royal photographer. Having learned the art of still photography, Rosher departed England for the United States sometime in late 1908, equipped with a Williamson camera.

In 1910, Rosher found his first job in the fledgling film industry through a connection forged with an English compatriot, the pioneer producer David Horsley: as principal cameraman for Horsley's East Coast-based Centaur Film Company (which made Rosher Hollywood's first ever full-time cinematographer). Centaur was renamed Nestor Studios upon its permanent relocation to California in 1911, setting up at the corner of Sunset Boulevard and Gower Street. Essentially all of Rosher's early work consisted of one and two reelers, invariably made for Nestor's chief director, Al Christie. Some were comedies, many were 'quota quickie' westerns, such as The Indian Raiders (1912), for which Nestor imported genuine Indians from New Mexico.

In 1913, Rosher accompanied directors Raoul Walsh and Christy Cabanne on his famous expedition to Mexico to shoot the feature film The Life of General Villa (1914). The rebel leader Pancho Villa had agreed to grant exclusive rights to filming of his battles against the Federales by the Mutual Film Corporation, in exchange for a fee of $25,000 and 20% of all revenues from the picture. There were a number of hazards experienced by Rosher during this adventure, including capture by enemy forces, and at times coercive interference from Villa, who fancied himself as a filmmaker.

Upon his return to the other side of the border, Rosher had a brief spell with Universal (which had absorbed Nestor), followed by two years with the Lasky Feature Play Company (which later became Paramount). He then worked at United Artists from 1919 to 1928, becoming the favourite cinematographer of the company's biggest asset, Mary Pickford, lighting her in such a way that her true age never interfered with the image of the ingénue she persisted in portraying on screen. During this period, Rosher also developed his own unique visual style, which married artistry with technical know-how. He was much acclaimed for the sharpness and clarity of his photography, for the effects he achieved by combining natural and artificial light, photographing people against reflecting surfaces (glass, water), double exposure effects, split screen techniques, and so on. Rosher also patented several inventions, including a system for developing black & white film, ABC Pyro (A=pyro,B=sulfite,C=carbonate).

In 1929 Rosher became co-recipient (with Karl Struss) of the first-ever Oscar for cinematography bestowed by the Academy, for a film made at Fox: Sunrise (1927) - still regarded today as one of the finest examples of 1920's filmmaking. With its many scenes bathed in light or twilight, it has also been likened to a cinematic French impressionism. Rosher himself recalled this as one of the most difficult assignments of his career, particularly in terms of lighting such tricky scenes as the moonlit, fog-bound swamp, necessitating a very mobile camera. "Sunrise", inevitably, ended up winning the top award for 'unique and artistic production'. Two years later, after a falling out with Pickford during filming of Coquette (1929) , Rosher went his own way. He was never out of a job for long, working variously for RKO (1932-33), MGM (1930,1934) and Warner Brothers (1937-41).

Though he had made his reputation with black & white photography, Rosher easily adapted to the medium of colour. He enjoyed a major resurgence in the second half of his career, shooting some of the most sumptuous technicolor musicals (Ziegfeld Follies (1945), Show Boat (1951)) and dramas (The Yearling (1946),Scaramouche (1952)) during his tenure at MGM, which lasted from 1942 to 1954. He won his second Oscar for "Yearling" and became the only ever recipient of a fellowship by the Society of Motion Picture Engineers. Rosher retired in 1955, except for occasional lectures and guest appearances at film festivals. He settled down on a 1,600-acre plantation he had acquired at Port Antonio on Jamaica, formerly owned by Errol Flynn. He died in 1974 in Portugal, after a fall, at the respectable age of 88.

Oscar-winning cinematographer Karl Struss was born on November 30, 1886, in New York City. He became a professional photographer after studying photography with Clarence H. White and became part of the group associated with the great photographer Alfred Stieglitz. His photographs, which he characterized as "pictorial" rather than "fashion", were published in leading magazines, including "Harper's Bazaar," "Vanity Fair" and "Vogue."

Struss moved to Los Angeles in 1919 to practice his craft as a still photographer. He subsequently was hired by producer-director Cecil B. DeMille to serve as a cameraman in his second-unit. Along with Charles Rosher, he won the first Oscar ever awarded for cinematography at the first Academy Awards, for photographing Sunrise (1927) for F.W. Murnau. He was nominated for the Academy Award three more times for his cinematography.

In addition to DeMille and Murnau, Struss worked with such greats as Charles Chaplin and D.W. Griffith. After being the director of photography on Mary Pickford's Sparrows (1926), he was the lighting cameraman on her first sound film, Coquette (1929), for which she won a Best Actress Academy Award. He worked with other top stars such as Fredric March, who won an Oscar on the Struss-photographed Dr. Jekyll and Mr. Hyde (1931), for which Struss was also Oscar-nominated.

Karl Struss was not only one of the first cinematographers to work in color (he shot in two-strip Technicolor on the original screen version of Ben-Hur: A Tale of the Christ (1925)), he also was a pioneer in three-dimensional cinematography in the 1940s and 1950s.

Karl Struss died on December 15, 1981. He was 95 years old.

Educated at the University of Arkansas, Clyde De Vinna entered the film business almost at its beginnings, and became a cinematographer in 1915. He was behind the camera on dozens of films for many different studios, but did much work for independent producer Thomas H. Ince and MGM. De Vinna didn't care for studio-shot pictures, and preferred films that were to be shot on location, where he did much of his best work.

Joseph T. Rucker was, for the better part of his forty year career, a newsreel cameraman for Paramount News. He is remembered for filming the 1915 opening of the Panama Canal, the aftermath of the 1923 Tokyo earthquake, the 1927 civil war in China and Richard E. Byrd Jr.'s 1928 and 1930 expeditions to Antarctica. In the latter expedition, he and fellow cameraman, Willard Van der Veer brought back over 160,000 feet of raw footage. During the Second World War, Rucker covered the conflict in the Pacific aboard the American aircraft carrier Enterprise.

Rucker was born on 1 January, 1887, in Atlanta, Georgia, the second son of George G. and Sarah Millikan Rucker. His father, who had for a number of years been a cotton broker in Virginia, died sometime before 1900.

Rucker passed away in San Francisco on 21 October, 1957, two years after his retirement. He was survived by his wife of forty-two years, the former Cecile Kaufman (1893-1975), a daughter Frances Joy and son Joseph.

Willard Van der Veer was born on 23 August 1894 in Brooklyn, New York, USA. He was a cinematographer and director, known for With Byrd at the South Pole (1930), Maintain the Right (1940) and The Crawling Hand (1963). He died on 16 June 1963 in Encino, California, USA.

Floyd Delafield Crosby was born in 1899 to Fredrick Van Schoonhoven Crosby (1860-1920) and Julia Floyd Delafield (1874-1952). Floyd had one sibling, Katherine Van Rensselaer (Gregory). Floyd married Aliph Van Cortland Whitehead in 1940 and they had two children, Floyd Delafield Crosby (Ethan) in 1936 and David Crosby in 1940. Floyd and Aliph were divorced in 1960 and Floyd married Betty Cormack the same year. During World War II Crosby shot training films for pilots learning air routes and landing patterns all over the world (these films are vary difficult to find today and do not carry credits). Crosby left the military as a major in 1946. He enjoyed working on Hollywood "B" movies and shot many of them in the 1950s and 1960s, often for director Roger Corman. In the late 1960s he retired to live with his wife Betty in Ojai, CA. He passed away in 1986. More information about Floyd and his relationship with his family is available in his son David's autobiography "Long Time Gone".

One of the most innovative of pioneer cameramen, Lee Garmes started his career on the East Coast with the New York Motion Picture Company, but was soon persuaded by the director Thomas H. Ince to join him in Hollywood. Garmes quickly climbed his way up the ladder, from painter's assistant to prop boy (future director Henry Hathaway shared the same duties at 'Inceville'), to camera assistant. He struck up a singularly fruitful collaboration with director Malcolm St. Clair, with whom he worked on one- and two-reel shorts. Many of these early comedies were shot on a shoe-string budget and necessitated clever improvisation, especially in the usage of lead-sheet reflectors (re-directing sunlight) which substituted for proper lighting. Garmes also introduced incandescent tungsten filament Mazda lights as a significant cost-saving venture. In 1925, now as a fully-fledged director of photography, Garmes went over to Paramount, first under contract from 1925 to 1926. He perfected his craft at First National and Warner Brothers (1927-1930), before returning to Paramount and making a significant contribution to some of the most outstanding black-and-white films made by the studio during the early and mid-1930's. His most recognizable trademark was to naturally light his sets from a northward orientation.

Said to have been influenced by the paintings of Rembrandt, Garmes showed a great flair in the use of chiaroscuro, light and shade, which enhanced the expressionistic European look of darkly exotic ventures like Morocco (1930) and Shanghai Express (1932). Both pictures were directed by Josef von Sternberg and starred one of Paramount's most bankable assets, Marlene Dietrich, flatteringly photographed by Garmes with subdued lighting amid swirling, misty backgrounds. "Shanghai Express" led to an Academy Award and established Garmes as one of the top cinematographers in the business. His career suffered a setback, however, when he was replaced by David O. Selznick months into shooting Gone with the Wind (1939) (Selznick objected to the Garmes technique of soft lighting, preferring the harsher 'picture postcard' colours). Though the first hour of GWTW was almost entirely shot by Garmes (most of it directed by George Cukor, who was also fired), he was not credited for his efforts.

Lee Garmes imbued many more seminal films of the 1940's and 50's with his own particular style, creating the romantic moods of Lydia (1941), the exotic splendour of Alexander Korda's technicolor The Jungle Book (1942) and the semi-documentary realism of William Wyler's Detective Story (1951). He became one of few cinematographers to be given additional responsibilities in directing and production and in 1972 became one of the first advocates for the use of videotape in filmmaking. Garmes was twice recipient of the Eastman Kodak Award. He served as present of the American Society of Cinematographers from 1960 to 1961.

One of the outstanding cinematographers of Hollywood's Golden Age, Lang spent most of his career at Paramount (1929-1952), where he contributed to the studio's well-earned reputation for visual style. Lang was educated at Lincoln High School in L.A., then proceeded to the University of Southern California to study law. He quickly changed his career plans, however, and joined his father, the photographic technician Charles Bryant Lang Sr, at the small Realart Studio. He served a lengthy apprenticeship as a laboratory assistant and still photographer, before advancing to assistant cameraman, working with pioneering cinematographers H. Kinley Martin and L. Guy Wilky. Lang left Realart in 1922, had a stint with the Preferred Picture Corporation, then joined Paramount which had, by then, absorbed Realart at the end of the decade. In 1929, he became a full director of photography.

During the 1930's, Lang was one of a formidable team of cinematographers working at Paramount, including such illustrious craftsmen as Lee Garmes, Karl Struss and Victor Milner. At this time, the studio dominated the Academy Awards for cinematography, particularly in the field of black & white romantic and period film. Lang excelled in the use of chiaroscuro, light and shade, and was adept at creating the mood for every genre and style, from the sombre Peter Ibbetson (1935) to the glamour of Desire (1936) and the Parisian chic of Midnight (1939). Lang was an innovator in the use of long tracking shots. He was also liked by many female stars, such as Helen Hayes and Marlene Dietrich (and, later, Audrey Hepburn, because of his uncanny ability to photograph them to their best advantage, often using subdued lighting and diffusion techniques. Though nominated eighteen times for Academy Awards, he won just once, for A Farewell to Arms (1932). Among his many outstanding films of the 30's and 40's, are the lavishly photographed Bob Hope comedy/thriller The Cat and the Canary (1939) and the romantic, atmospheric The Ghost and Mrs. Muir (1947).

Lang's work with chiaroscuro lighting adapted itself perfectly to the expressionist neo-realism of films noir in the 1950's, most noteworthy examples being Ace in the Hole (1951) and The Big Heat (1953). He was at his best working with the directors Billy Wilder and Fritz Lang. The success of films like Sabrina (1954), Separate Tables (1958) and Some Like It Hot (1959) - all Oscar nominees for Lang's cinematography - owed much to his excellent camera work. Though he preferred the medium of black & white, he became equally proficient in the use of colour photography, working with different processes (Cinerama, VistaVision, etc.) on expansive, richly-textured and sweeping outdoor westerns like The Magnificent Seven (1960) and How the West Was Won (1962), as well as romantic thrillers like Charade (1963) and How to Steal a Million (1966). In 1990, Lang received a Special Eastman Kodak Award for colour cinematography.

Lang was known in the industry as one of the 'best-dressed men' behind the cameras, modest, yet a perfectionist and a consummate professional. He lived to the ripe old age of 96, dying in Santa Monica, California, in April 1998.

Pioneering cinematographer Victor Milner acquired his fascination with the celluloid media during the days of the nickelodeon. After working as a lab assistant for a film equipment manufacturer, he joined Pathe Weekly News in the capacity of projectionist and newsreel cameraman. Among other events, he filmed the U.S. occupation of Vera Cruz during the conflict with Mexico in 1914. After moving to California in 1916, Milner was hired by the Balboa Amusement Producing Company (founded in Long Island in 1913), notably working on several westerns starring William S. Hart. He subsequently spent time under contract with Metro, Universal, Paramount (the bulk of his career: 1925-1944) and RKO (1945). A versatile craftsman and a master at creating moods (in his own words, 'painting with light'), he was equally adept at shooting unsentimental black & white films noir (The Strange Love of Martha Ivers (1946)), or sprawling, romantic Technicolor adventure (Reap the Wild Wind (1942)). He often worked on the films of legendary director Cecil B. DeMille, winning his only Academy Award (from nine nominations) for the epic Cleopatra (1934).

Milner retired in 1953. He was one of the founding members of the American Society of Cinematographers (ASC).

Distinguished pioneering cinematographer who had a career in motion pictures lasting six-decades. As a teenager, Hal built his own camera while still at school and took photos of local interest which he then developed and printed. He sent a number of these pictures to the New York Herald-Tribune and they were deemed good enough to invite interest from Hollywood. After doing some free-lance work he was hired to shoot newsreels for Sol Lesser's company, General Films. In 1915, he began working in Hollywood, first as a film cutter at Universal, eventually graduating to assistant director. During the latter stages of the First World War he worked for the photographic unit of the U.S.Army, and, afterwards, shot documentaries before turning his attention to motion pictures.

In 1921, Hal became a fully-fledged director of photography. Many of his early efforts were low budget productions although he compensated for the lack of expensive sets by embracing elements of the German expressionist movement: symbolism, stylised images, sombre lighting - all designed to create mood and evoke a more profound understanding and emotive reaction to the subject. Having spent almost a year in Paris post-war, Hal had studied European film-making techniques. During the 1920's, he worked closely with noted exponents of expressionism, including the directors Paul Leni and Michael Curtiz. He was an innovator in the use of boom and dolly shots, producing exciting new visual effects.

Significantly, he was director of photography on the first ever all-talking picture, The Jazz Singer (1927). Over the years, Hal Mohr acquired a deserved reputation for best serving each director's needs by creating the exact look and mood required for each film. In the 1930's, he was one of the first to employ deep-focus photography in films like Bullets or Ballots (1936) and The Green Pastures (1936). For the Errol Flynn swashbuckler Captain Blood (1935), Hal seamlessly integrated live action shots with 18 foot-long model ships and location footage with back-lot shots. He won the first of two Academy Awards (uncontested, through a 'write-in campaign') for A Midsummer Night's Dream (1935). His second Academy Award, he shared with W. Howard Greene for his colour photography of Universal's Phantom of the Opera (1943).

In 1957, Hal also won the George Eastman Award for Distinguished Contribution to the Art of Film. Among other representative examples of Hal Mohr's best work in Hollywood one has to include Another Part of the Forest (1948) and The Wild One (1953). He also shot two classic films with Marlene Dietrich: Destry Rides Again (1939) and Rancho Notorious (1952). He was very impressed with the actress, commenting: "She just knows from the heat of the light on her when she is right for the camera" (New York Times,May 12 1974). Hal Mohr served several times as President of the American Society of Cinematographers, 1930-31, 1963-65, 1969-70. He was married to the actress Evelyn Venable for almost forty years. A star on the Hollywood Walk of Fame bears his name.

Tony Gaudio was born Gaetano Antonio Gaudio on November 20, 1883, in Cosenza, Italy, to a professional photographer. After attended art school in Rome, he became an assistant to his father and elder brother, who were portrait photographers. Eventually he segued into cinema, starting with "Napoleon Crossing the Alps" in 1903, and he eventually shot hundreds of short subjects for Italian film companies before moving to the US in 1906. Both he and his younger brother Eugene Gaudio, who served the same apprenticeship with both the family studio and with Italian filmmakers, would emigrate to America and become prominent cinematographers (Eugene was one of the founders of the American Society of Cinematographers in 1919; Tony would become a member of the organization and then serve as president).

In New York in 1906 Tony was employed by Al Simpson to produce "song slides" that could be shown in theaters so patrons could sing along with the music. After quitting Simpson in 1908, he worked in Vitagraph's film development laboratories in New York, then moved over to Carl Laemmle's IMP (Independent Moving Picture Co.) to supervise the construction of IMP's New York laboratories. From 1910-12 he became the chief of cinematographers at IMP, where he shot Mary Pickford's films for director Thomas H. Ince (he would later shoot The Gaucho (1927) for her husband, Douglas Fairbanks.)

Laemmle had wooed Pickford away from Biograph by offering her $175 a week, thus helping create the star system (Pickford soon left Laemmle for Adolph Zukor's Famous Players, where she was paid $10,000 per week; she left Zukor for First National, where she was paid $350,000 per film). Known as "Uncle Carl", Laemmle was famous for his nepotism, which extended even to a second cousin from Alsace, France, the future director William Wyler.

Tony's own brother Eugene would work for IMP as the superintendent of its development lab before switching to cinematography himself. As for Tony, he left IMP to work for Biograph and other companies before finding a home at Metro Pictures by 1916, where his brother Eugene now worked as a director. At Metro Tony shot 10 films for director Fred J. Balshofer and eventually wound up at First National in the early 1920s through his work as a cameraman for sisters Constance Talmadge and Norma Talmadge. From 1922-25 he shot nine Norma Talmadge pictures.

Eugene had died in 1920, and from 1923-24 Tony served as president of the American Society of Cinematographers, the professional body his brother had helped create to promote standardization in the industry and to serve as a clearinghouse for information for cameramen. Tony was at the forefront of technical innovation in his craft; in 1922 he invented a viewfinder for the new Mitchell camera. In the 1920s the Hollywood motion picture industry was dominated by Bell+Howell cameras, but Mitchell established a foothold and broke through by the end of the decade. While the Bell+Howell produced a superior image due to its innovative pressure plate behind the lens, it was too noisy for sound work, which opened up the market to Mitchell. The ASC helped promote innovations such as the viewfinder. This was rooted in the fact that in the first generation of cinema, cameramen owned their own cameras and modified them themselves. To be a cameraman one also had to be a tinkerer (Tony also would later invent the camera focusing microscope).

Tony also was an expert--as were many early cameramen--in the development of film, as most cinematographers took a hands-on approach to development in order to ensure not just the quality of their images, but to achieve effects in the lab. It was while he was employed by First National as the superintendent of the studio's film labs in 1925 that he directed two feature films released by the Poverty Row studio Columbia Pictures Corp.

In the 1920s he helped photograph Douglas Fairbanks' The Mark of Zorro (1920), pioneering the use of montage, and was lighting cameraman on Fairbanks' 1927 "The Gaucho", which featured one of the earliest two-strip Technicolor sequences (Gaudio also shot two-strip Technicolor scenes for On with the Show! (1929) and General Crack (1929)). He made his reputation during the 1920s as the chief cameraman for such top directors as Allan Dwan, Frank Borzage and Marshall Neilan, as well as for tyro director Howard Hughes' dialogue scenes with Harry Perry on the aerial scenes of Hell's Angels (1930).

When First National was acquired by Warner Bros. in 1928, Gaudio moved over to the new studio, signing a long-term contract with Warners in 1930. In time, he and his fellow Italian immigrant Sol Polito would become the co-chief-cinematographers at the studio and help fashion the distinct Warner Bros. "look" that was influenced by German Expressionism.

The opinionated Tony Gaudio was prone to clash with his directors, and Oscar-winning director Lewis Milestone'--who won his first Oscar on a film lensed by Gaudio, Two Arabian Knights (1927)--nearly fired him from The Front Page (1931) (Gaudio served as the second cameraman on Milesteone's anti-war masterpiece All Quiet on the Western Front (1930), for which the director won his second Oscar, and would shoot his last film for Milestone: The Red Pony (1949), which is renowned for its mastery of color). The studio tolerated his temperament as he was a master of black and white cinematography, winning six Academy Award nominations and one Oscar from 1930 through 1946, when he was nominated for Best Color Cinematography for the first time.

Gaudio, fellow co-cinematographer-in-chief Polito, Barney McGill and Sidney Hickox were instrumental in creating the Warner Bros. "look" of the 1930s. Warners, the most progressive studio in Hollywood, was prone to filming subjects torn from the day's headlines; the Brothers Warner, as represented by studio boss Jack L. Warner, did not demand a glamorous aesthetic as did MGM, for instance (Gaudio shot Mervyn LeRoy's gangster classic Little Caesar (1931) while Polito shot I Am a Fugitive from a Chain Gang (1932) for Leroy two years later). Gaudio, Polito and the other cinematographers they supervised thus were able to light their sets to evoke mood and atmosphere. The extremely versatile Gaudio shot all kinds of movies in every genre, from the prestigious A-pictures to B-movies.

Along with Polito, Gaudio shot Warners' most prestigious films, winning an Oscar for his black and white cinematography on Anthony Adverse (1936). He shot Warners' first three-strip Technicolor film, God's Country and the Woman (1937), directed by William Keighley, and, subsequently, the studio assigned Gaudio and Keighley to what was their most ambitious picture ever: The Adventures of Robin Hood (1938), which was also to be shot in the difficult Technicolor. The film would eventually cost $4 million, making it the most expensive film in history to the time, but Gaudio and Keighley were removed from the project by producer Hal B. Wallis for working too slowly. The film was finished by Polito and director Michael Curtiz, though all four ultimately shared screen credit on the picture and Gaudio's footage remained in the film.

Gaudio was a regular cameraman for Bette Davis, who became the studio's greatest star during the 1930s. Gaudio originally gave Davis the glamor treatment, but by the time he shot Bordertown (1935), starring Paul Muni as a Mexican-American lawyer in a corrupt town, Gaudio didn't flinch when--shooting the film with a stark realism--he deglamorized Davis, as he would later in two period films, Juarez (1939) and The Old Maid (1939).

Critics believe that Gaudio reached the zenith of his craft on another Davis vehicle, director 'William Wyler (I)''s adaptation of W. Somerset Maugham's novel, The Letter (1940). For the picture Gaudio's camera evoked a moodiness pregnant with violence. The opening shot of the film, a slow track through the Malaysian rubber plantation that is the setting for the story about to transpire, is extremely memorable.

When Gaudio shot High Sierra (1941) for Raoul Walsh, he worked in an ultra-realistic, documentary-like fashion that was a precursor of film noir. He parted company with Warners in 1943 after shooting Background to Danger (1943) to go freelance. His next picture, Universal's Corvette K-225 (1943), brought him an Oscar nomination. He won his last Oscar nomination, for color cinematography, in 1946, for A Song to Remember (1945).

Tony Gaudio died on August 10, 1951. He was 67 years old.

W. Howard Greene, a pioneer in color cinematography, was nominated for an Oscar seven times, including five straight years from 1940 to 1944. All of his nominations were for his work in color, in the days when color and black and white cinematography were different categories at the Academy Awards.

Color cinematography was not recognized as a distinct category by the Academy of Motion Picture Arts & Sciences until the 12th Academy Awards, held in 1940 for the 1939 production year. For the 1936 to '38 production years, a committee of leading cinematographers made a recommendation to the Academy for an Honorary Award after viewing the color movies produced during the year. In 1937, Greene was the first winner of the Honorary Academy Award, a plaque, for color cinematography, along with Harold Rosson, for their work on The Garden of Allah (1936). Singly, he received the Honorary Award plaque for color cinematography in 1938, for his work on A Star Is Born (1937). He won a competitive Oscar in 1944, along with Hal Mohr, for their work on Phantom of the Opera (1943).

As befitting a man with his surname, Greene began specializing in color photography in the early 1920s. He shot the color sequences for Ben-Hur: A Tale of the Christ (1925) in Technicolor's two-color, subtractive cemented-dual-print process. Later, he worked as a camera operator at Warner Bros.-First National on Doctor X (1932) and _Mystery of the Wax Museum (1933)_ (v), both of which were photographed with Technicolor's newer, subtractive two-color dye transfer process.

Warner Bros. was the industry leader in making Technicolor films in 1930, producing 15 color films, 11 of which were fully in color, the four others having color sequences. "Wax Museum" generally is considered the most beautiful color feature film produced under the two-color Technicolor process. Herbert T. Kalmus, the president of Technicolor, considered it to be one of the best examples of what was possible with the two-color system. However, color usage waned in 1931 due to the economic effects of the Depression, the lack of novelty, and audience dissatisfaction with the limited palette of colors. Audiences had grown content with sound and seemingly didn't need color, which was expensive to shoot.

It wasn't until the latter part of the 1930s, with the advent of Technicolor's three-strip, three-color dye transfer process, that color film matured into a real medium of artistic expression. The new process required an innovative, custom camera, outfitted with a film magazine that contained three reels of specially prepared B&W film. The process was made possible by the advent of panchromatic B&W film, which was sensitive to all of the colors in the visible spectrum, and was used to shoot reds and greens on two separate reels of films. The third film, which was for blue, consisted of the older orthochromatic B&W film stock, which was not sensitive to light at the red end of the spectrum. The three B&W prints registered the effects of red, green and blue light. They were optically printed and later dyed with the appropriate colors to create what was heralded as "Glorious Technicolor" prints.

_Becky Sharp (1935)_ (qv_, which was shot by Ray Rennahan under the supervision of Kalmus' wife Natalie Kalmus (who also served as a consultant on "Mystery of the Wax Museum" and later on "The Garden of Allah" and "A Star is Born"), was the first feature film to use the three-color process. The Trail of the Lonesome Pine (1936), which was shot by Greene and documentary filmmaker Robert C. Bruce, was the first Technicolor film shot in the outdoors. Technicolor chief Herbert Kalmus didn't believe it could be done outside of a studio, as he thought that the light and color couldn't be controlled, but director Henry Hathaway insisted, and the on-location photography was a success.

Now working for David O. Selznick, Greene established a reputation as one of the best color directors of photography in the film industry, working with the new three-strip Technicolor that reproduced the visual spectrum. He got his first honorary Academy Award for "Garden of Allah," but it was Selznick's "A Star is Born" that cemented Greene's reputation. His use of Technicolor to create a glistening palette of color was groundbreaking.

Subsequently, Greene shot Arabian Nights (1942) for Universal, which was its first color film, and won his Oscar statuette while at Universal for Phantom of the Opera (1943). He would go on to win one more Oscar nomination, for When Worlds Collide (1951), and shot his last film in 1955. His career as a leading cinematographer was cut short when he died in 1956.

Harold G. "Hal" Rosson, a cinematographer known for his subtle and imaginative lighting, was born in Genaseo, New York, on August 24, 1895, although some sources cite his birthday as April 6, 1895, or in 1889.

Rosson entered the movie industry in 1908 as an actor at the Vitagraph Studios in Brooklyn, New York. Eventually, he quit acting to become an assistant to director of photography Irvin Willat at the Mark Dintenfass Studios. Moving on to the Famous Players Studio in 1912, he served as a "film johnny," or jack-of-all-trades, working as an assistant, extra and handyman, while simultaneously holding down a job as an office boy in a stock brokerage. By 1914, he was employed by a small theater in Brooklyn, where his duties included being the projectionist and manning the ticket booth.

Rosson finally abandoned New York for California in December 1914 and secured employment at Metro Pictures as assistant to both property man Danny Hogan and director of photography Arthur A. Cadwell. He moved back to New York when Metro relocated there, eventually becoming a director of photography in 1915. His first film has been cited as David Harum (1915) for director Allan Dwan (film credits for cinematographers were not inaugurated until 1919, under the influence of the American Society of Cinematographers, which Rosson joined in 1927). As a cinematographer, he also worked for the Kalem Company, Famous Players and Essanay before his career was interrupted by WWI, during which he served in the army.

After being demobilized, he got a job as assistant to cinematographer H. Lyman Broening on The Dark Star (1919), which starred Marion Davies and was shot in Fort Lee, NJ. He became an employee of Davies' production company, Cosmopolitan Productions, which had been set up for her in 1918 by her lover, William Randolph Hearst. In 1920, Rosson was signed by Mary Pickford to shoot movies starring her brother, Jack Pickford.

He eventually rejoined Metro (which in 1924, merged with Goldwyn Studios and then with Louis B. Mayer Productions to become Metro-Goldwyn-Mayer), where he made his reputation. At MGM he was the lighting cameraman on Red Dust (1932), Red-Headed Woman (1932) and Bombshell (1933), on which his camera work showed off star Jean Harlow's platinum blonde look to maximum advantage. Rosson was married to Harlow for two years, from 1933 to 1935, which was indicative of his high status in the film community. In 1935 he moved to England to work for Alexander Korda's London Film Productions, but eventually he returned to MGM.

Rosson became a noted cinematographer in color, using the skills he had developed shooting in black & white to soften the palette created by the Technicolor process. Due to its need for high light levels, Technicolor often created gaudy images that resembled a child's coloring book. Rosson was able to make the colors more subtle, and was the recipient along with W. Howard Greene of an honorary Academy Award plaque for his color photography on The Garden of Allah (1936) in 1937 (the cinematography category was not split into color and B&W categories until the awards for 1939. The awards for color cinematography made for the 1936, '37, and '38 production years were awarded on the basis of a recommendation of a committee of leading cinematographers that viewed all the color pictures made during the year. For the 1967 awards, the B&W category was eliminated).

Rosson also was hailed for his photography on The Wizard of Oz (1939), for which he received the first of his five Academy Award nominations. When Rosson shot "Oz," he had the aid of two cameramen lent to MGM by Technicolor, and enjoyed the advice of Technicolor consultant Henri Jaffa, whose title was Technicolor Color Director (all early Technicolor films were overseen by a consultant from the company, to ensure that cinematographers and directors didn't use the process in ways Technicolor deemed improper and that violated its aesthetic criteria).

Ironically, four of Rosson's five Oscar nominations for best cinematography were for his B&W work. His B&W cinematography for The Asphalt Jungle (1950), for which he received his fourth Oscar nomination, is noted for creating the stark atmosphere that was central to the story and the overall success of the John Huston picture.

He retired in 1958 after shooting Onionhead (1958) for director Norman Taurog, though he returned to shoot El Dorado (1966) for Howard Hawks. In addition to shooting eight films for Allan Dwan between 1915 and 1929 and The Asphalt Jungle (1950) and The Red Badge of Courage (1951) for John Huston, Rosson also worked many times with directors Josef von Sternberg, Sam Wood, Cecil B. DeMille, W.S. Van Dyke, Howard Hawks, Mervyn LeRoy, Norman Taurog, Fred Zinnemann, and Vincente Minnelli. He shot the "The Trolley Song" number in Meet Me in St. Louis (1944) for Minnelli and On the Town (1949) and Singin' in the Rain (1952) for Gene Kelly and Stanley Donen. His most famous collaboration was with director Victor Fleming, starting in 1923 with Dark Secrets (1923) and culminating in 1939 with his work on The Wizard of Oz (1939) (in December 1938, under the direction of producer David O. Selznick, Rosson shot the burning of Atlanta sequence for Gone with the Wind (1939), for which Fleming was credited as the director).

Rosson died on September 6, 1988, in Palm Beach, Florida, well into his 90s. His long life was a fitting cap to a long and productive career.

Karl Freund, an innovative director of photography responsible for development of the three-camera system used to shoot television situation comedies, was born on January 16, 1890, in the Bohemian city of Koeniginhof, then part of the Austria-Hungarian Empire (now known as Dvur Kralove in the Czech Republic). Freund went to work at the age of 15 as a movie projectionist, and by the age of 17, he was a camera operator shooting shot subjects and newsreels. Subsequently, he was employed at Germany's famous UFA Studios during the 1920s, when the German cinema was the most innovative in the world.

At UFA, Freund worked as a cameraman for such illustrious directors as F.W. Murnau and Fritz Lang. For Murnau's The Last Laugh (1924) (aka The Last Laugh), screenwriter Carl Mayer worked closely with Freund to develop a scenario that would employ the moving camera that became a hallmark of Weimar German cinema. One of the most beautiful and critically acclaimed silent films, The Last Laugh (1924) is considered the perfect silent by some critics as the images do most of the storytelling, allowing for a minimal amount of inter-titles. The collaborative genius of Murnau, Mayer, and Freund meant that the images communicated the integral part of the narrative, visualizing and elucidating the protagonist's psyche. Freund filmed a drunk scene with the camera secured on his chest, with a battery pack on his back for balance, enabling him to stumble about and produce vertiginous shots suggesting intoxication.

Director Ewald André Dupont gave credit for the innovative camera work on his masterpiece Variety (1925) (aka Variety) to Freund, praising his ingenuity in an article published in The New York Times. Freund was one of the cameramen and the co-writer (with Carl Mayer and director Walter Ruttmann) on Berlin: Symphony of Metropolis (1927) (Berlin: Symphony of a Great City), an artistic documentary that used a hidden camera to capture the people of the city going about their daily lives. Always technically innovative, Freund developed a high-speed film stock to aid his shooting in low-light situations. This film also is hailed as a classic. Other classic German films that Freund shot were The Golem (1920) (aka The Golem) and Lang's Metropolis (1927).

Now possessing an international reputation, Freund emigrated to the U.S. in 1929, where he was employed by the Technicolor Co. to help perfect its color process. Subsequently, he was hired as a cinematographer and director by Universal Studios, where he cut his teeth, uncredited, as a cinematographer on the great anti-war classic All Quiet on the Western Front (1930), Universal's first Oscar winner as Best Picture.

Universal's bread and butter in the early 1930s were its horror films, and Freund was involved in the production of several classics. Among his Universal assignments, Freund shot Dracula (1931) and Murders in the Rue Morgue (1932), and directed The Mummy (1932). The Mummy (1932) was Freund's first directorial effort, and co-star Zita Johann, who disliked Freund, claimed he was incompetent, which is unfair, seeing as how the film is now considered a classic of its genre. The film uses the undead sorcerer Imhotep's pool with which he can impose his will over the living by spreading some tana leaves on the water, as a visual metaphor for the subconscious. The film is arresting visually due to Freund's cinematic eye that created a sense of "otherness." The film is infused with a dream-like state that seems rooted in the subconscious mind. Freund's other directorial efforts at Universal proved less satisfying.

Moving to MGM, Freund directed just one more motion picture, Mad Love (1935) (aka The Hands of Orlac) a horror classic that utilized the expressionism of his UFA apprenticeship. With the great lighting cameraman Gregg Toland as his director of photography, the collaboration of Freund and Toland created a European sensibility unique for a Hollywood horror film. The compositions of the shots featured arch shapes and utilized the expressive shadows of the best of the European avant-garde films of the 1920s.

But MGM wanted Freund for his genius at camera work. He shot the rooftop numbers for The Great Ziegfeld (1936), another Best Picture Oscar winner, and worked with William H. Daniels, Garbo's favorite cameraman, on "Camille" (1936). He shot Greta Garbo's Conquest (1937) solo, though he never worked with Garbo again. That same year, he was the director of photography on The Good Earth (1937), for which he won an Academy Award for Best Cinematography.

Other major MGM pictures he shot were Pride and Prejudice (1940), for which he received an Academy Award nomination, Tortilla Flat (1942), and A Guy Named Joe (1943). He also worked for other studios, shooting Golden Boy (1939) for Columbia. In 1942, he pulled off a rare double: he was nominated for Best Cinematography in both the black and white and color categories, for The Chocolate Soldier (1941) and Blossoms in the Dust (1941), respectively.

One of the last films he shot for MGM was Two Smart People (1946), starring Lucille Ball. In 1947, he moved on to Warner Bros, where he shot the classic Key Largo (1948) for John Huston. His last film as a director of photography was Michael Curtiz' Montana (1950), which starred Gary Cooper.

Always the technical innovator, Freund founded the Photo Research Corp. in 1944, a laboratory for the development of new cinematographic techniques and equipment. His technical work culminated in his receipt of a Class II Technical Award in 1955 from the Motion Pictures Arts & Sciences for the design of a direct-reading light meter. That same year, he had the honor of representing his adopted country at the International Conference on Illumination in Zurich, Switzerland.

It was perhaps inevitable that the technical and innovation-minded Freund would get to work for a brand new visual medium, television. Lucille Ball, whom he had photographed when she was a contract player at MGM, became his boss when he was hired as the director of photography at Desilu Productions, owned by Ball and her husband, Desi Arnaz. Desilu hired the great Freund as its owners were determined to shoot the show I Love Lucy (1951) on film rather than produce the show live, as was standard in the early 1950s. Most shows were shot live, while a film of the program was simultaneously shot from a monitor, a process that created a "kinescope." The kinescope would be shown in other time zones on the network's affiliates. Desilu's owners disliked the quality of kinescopes, and needed Freund to come up with a solution to their problem of how to maintain the intimacy of a live show on film.

Freund agreed that the show should be shot on film rather than live, as film enabled thorough planning and allowed for cutting, which was impossible with live TV. Freud knew that film would allow Desilu to eliminate the fluffs which were a staple of early television, and would allow the producers to re-shoot scenes to improve the show, if needed.

I Love Lucy (1951) had to be filmed before an audience to retain the immediacy of a live TV show, which meant that the traditional, time-consuming methods of studio production with one camera would not work. Freund decided to shoot I Love Lucy (1951) with three 35mm Mitchell BNC cameras, one of each to simultaneously shoot long shots, medium shots and close-ups. Thus, the editor would have adequate coverage to create the 22 minutes of footage needed for a half-hour commercial network show.

The then-innovative, now-standard technique of simultaneously shooting a situation comedy with three 35mm cameras cut the production time needed to produce a 22-minute program to one-hour. The cameras were mounted on dollies, with the center camera outfitted with a 40mm wide-angle lens, and the side cameras outfitted with 3- and 4-inch lenses. The resulting shots were edited on a Movieola. A script girl in a booth overlooking the stage cued the camera operators. Due to extensive rehearsal time before the show was shot live, the camera operators had floor marks to guide them, but Freund's system was enabled by the script girl overseeing their actions via a 2-way intercom. The system made the shooting, breaking-down, and setting-up process for the next scenes on the three sets of the I Love Lucy (1951) stage very economical in terms of time, averaging one and one-half minutes between shots.

Freund worked out the lighting during the rehearsal period. Almost all of the lighting was overhead, except for portable fill lights mounted above the matte box on each camera. In Freund's system, there were no lighting changes during shooting, other than the use of a dimming board. Since the lighting was mounted overhead on catwalks, power cables were kept off the floor, which facilitated the dollying that was essential for making the system work fluidly.

Freund's solution to the problem of shooting a show on film economically was to make lighting as uniform as possible, taking advantage of adding highlights whenever possible, since a comedy show required high-key illumination. Due to the high contrast of the tubes in the image pickup systems at the television stations, contrast was a potential problem, as any contrast in the film would be exaggerated upon transmission of the film. To keep the film contrast to what Freund called a "fine medium," the sets were painted in various shades of gray. Props and costumes also were gray to promote a uniformity of color and tone that would not defeat Freund's carefully devised illumination scheme.

In a typical workweek, the I Love Lucy (1951) company engaged in pre-production planning and rehearsals on Monday through Thursday. I Love Lucy (1951) was filmed before a live audience at 8:00 o'clock PM on Friday evenings, and Freund's camera crew worked only on that Friday and the preceding Thursday. Freund, however, attended the Wednesday afternoon rehearsal of the cast to study the movements of the players around the sets, noting the blocking and their entrances and exits, in order to plan his lighting and camera work. Thursday morning at 8:00 o'clock AM, Freund and the gaffers would begin lighting the sets, which typically would be done by noon, the time the camera crew was required to report on set to be briefed on camera movements. Then, Freund would rehearse the camera action in order to make necessary changes in the lighting and the dollying of the cameras.

It was during the Thursday full-crew rehearsal that the cues for the dimmer operator were set, and the floor was marked to indicate the cameras' positions for various shots. For each shot, the focus was pre-measured and noted for each camera position with chalk marks on the stage floor. Another rehearsal was held at 4:30 PM with the full production crew. Though a full-dress rehearsal was held at 7:30 PM, with the attendance of the full crew, the cameras were not brought onto the set. The director would take the opportunity to discuss the plan of the show and solicit input from the cast and crew on how to tighten the show and improve its pacing.

The next call for the entire company was at 1:00 PM on Friday to discuss any major changes that were discussed the previous night. After this meeting, the cameras would be brought out onto the stage, and at 4:30 PM, there would be a final dress rehearsal during which Freund would check his lighting and make any required changes.

After a dinner break, the cast and production crew would hold a "talk through" of the show to solicit further suggestions and solve any remaining problems. At 8:00 PM, the cast and production crew were ready to start filming the show before a live audience. Before shooting, one of the cast or a member of the company had briefed the audience on the filming procedure, emphasizing the need for the audience's reactions to be spontaneous and natural.

Shooting was over in about an hour due to the rapid set-ups and break-downs of the crew, which shot the show in chronological order. Due to the thorough planning and rehearsals, retakes were seldom necessary. Camera operators in Freund's system had to make each take the right way the first time, every time, to keep the system working smoothly, and they did. An average of 7,500 feet of film was shot for each show at a cost that was significantly less than a comparable major studio production.

Freund also served as the cinematographer on the TV series Our Miss Brooks (1952), which was shot at Desilu Studios, and Desilu's own December Bride (1954). It was no accident that Desilu productions turned to Karl Freund to realize their dream of creating a high-quality show on film. Freund had the broadest experience of any cameraman of his stature, starting in silent pictures, and then excelling in both B&W and color in the sound era. With his penchant for technical innovation, he was the ideal man to develop solutions for filming a television show. Freund met the challenge of creating high quality filmed images in a young medium still handicapped by its primitive technology.

Freund became the dean of cinematographers in a new medium, with Desilu's I Love Lucy (1951) and its other shows recognized as the gold standard for TV production. His work ensured the fortunes of Desilu Productions, and the personal fortunes of Desilu owners Desi Arnaz and Lucille Ball, as he provided them with quality films of each show that could be easily syndicated into perpetuity, whereas the live shows filmed secondarily off of flickering TV monitors as kinescopes could not.

After retiring as a cinematographer, Freund continued his research at the Photo Research Corp. He died on May 3, 1969.

Four-time Oscar-winning cinematographer Joseph Ruttenberg was born in St. Petersburg, Russia. In 1893, at the age of four, his family moved to the United States, eventually settling in Boston. After schooling, he got his first job in 1907 working as a newsboy and personal runner for William Randolph Hearst's 'Boston American'. He was trained in reporting and as a still photographer and dark room technician. By 1914, he produced his own weekly newsreels for a local Loew's theatre, and, within another year, was employed as a cameraman with the Fox Film Corporation in New York. There, he perfected his craft over the next eleven years, rising from assistant cameraman to full cinematographer with a weekly salary of $175. He then moved over to Paramount's Kaufman Astoria Studios, where he worked under the supervision of the experienced George J. Folsey on several short features.

In 1933, Ruttenberg decided to ply his trade in Hollywood, now that the transition to sound pictures had been successfully made. He had brief spells with RKO and Warners, before putting up his tent at MGM for the greater part of his long and distinguished career (1934-1963). He became an innovator in his use of cranes and dolly devices, often designed to capture scenes in a single take. Another distinguishing aspect of his camerawork was to keep the performers in sharp focus, while softening the background, thus highlighting the actors almost three-dimensionally, while also creating a sense of immediacy. Ruttenberg shot some of MGM's finest black-and-white films of the 30's and 40's, his lighting (which he often took charge of personally, rather than assigning assistants) providing the exact ingredients required to create the right atmosphere in each instance: Fury (1936), Three Comrades (1938), Waterloo Bridge (1940), The Philadelphia Story (1940), Mrs. Miniver (1942) and Random Harvest (1942), to name but a few.

During the 1950's, Ruttenberg proved just as adept at colour photography, winning a Golden Globe award for his work on Brigadoon (1954), and his fourth Academy Award for the musical Gigi (1958). Among his six unsuccessful nominations, he received the last for BUtterfield 8 (1960), creating some of the most enduring images of Elizabeth Taylor at her peak. He free-lanced for a few years after leaving MGM and finally retired in 1968. He was honoured by the American Society of Cinematographers Milestone award.

Allen M. Davey was born on 15 May 1894 in Bayonne, New Jersey, USA. Allen M. was a cinematographer, known for Sweethearts (1938), The Wizard of Oz (1939) and Bitter Sweet (1940). Allen M. was married to Margaret Genevieve Rennahan and Margarett May Bronaugh. Allen M. died on 5 March 1946 in Hollywood, California, USA.

Oliver T. Marsh was born on 30 January 1892 in Kansas City, Missouri, USA. Oliver T. was a cinematographer, known for Sweethearts (1938), Bitter Sweet (1940) and Maytime (1937). Oliver T. was married to Elizabeth. Oliver T. died on 5 May 1941 in Hollywood, California, USA.

Arthur Ball was born on 16 August 1894 in Cambridge, Massachusetts, USA. He was a cinematographer, known for The Black Pirate (1926) and Wanderer of the Wasteland (1924). He died on 27 August 1951 in Los Angeles County, California, USA.

Born in Illinois in 1904, the only child of Jennie and Frank Toland, Gregg and his mother moved to California several years after his parents divorced in 1910. Through Jennie's work as a housekeeper for several people in the movie business, Gregg may had gotten a $12-a-week job at age 15 as an office boy at William Fox Studios. Soon he was making $18 a week as an assistant cameraman. When sound came to movies in 1927, the audible whir of movie cameras became a problem, requiring the cumbersome use of soundproof booths. Toland helped devise a tool which silenced the camera's noise and which allowed the camera to move about more freely. In 1931, Toland received his first solo credit for the Eddie Cantor comedy, "Palmy Days." In 1939 he earned his first Oscar for his work on William Wyler's "Wuthering Heights." In the following year he sought out Orson Welles who then hired him to photograph "Citizen Kane." (Toland was said to have protected the inexperienced Welles from potential embarrassment by conferring with him in private about technical matters rather than bringing these up in front of the assembled cast and crew.) For "Kane" Toland used a method which became known as "deep focus" because it showed background objects as clearly as foreground objects. (Film theorist Andre Bazin said that Toland brought democracy to film-making by allowing viewers to discover what was interesting to them in a scene rather than having this choice dictated by the director.) Toland quickly became the highest paid cinematographer in the business, earning as much as $200,000 over a three year period. He also became perhaps the first cinematographer to receive prominent billing in the opening credits, rather than being relegated to a card containing seven or more other names. Tragically, Toland's career was cut short in 1948 by his untimely death at age 44. Toland had a daughter, Lothian, by his second wife and two sons, Gregg jr. and Timothy, by his third. Lothian became the wife of comic Red Skelton.

Distinguished American cinematographer Ernest Haller started in the industry in 1914 as an actor with Biograph after leaving his first job as a bank clerk. Within one year he discovered his true calling: being on the other side of the camera. By 1920, he had become a full director of photography and would go on to handle prestigious pictures , such as the Samuel Goldwyn-produced Stella Dallas (1925). In 1926, Haller signed with First National and was still there when the studio was absorbed by Warner Brothers in 1930. Despite prolific output, it took him several years to create a reputation, however his breakthrough eventually came with the lavishly produced period drama Jezebel (1938), starring Bette Davis.For this, he received the first of five Academy Award nominations.

It was his work on 'Jezebel' which ultimately prompted David O. Selznick to replace Lee Garmes (with whom he had creative disagreements) with Haller as principal cinematographer for his Technicolour masterpiece, Gone with the Wind (1939). Haller also shot Vivien Leigh's famous first screen test for the role of Scarlett O'Hara. Though his previous work had been almost exclusively in black-and-white, the gamble paid off handsomely, with Haller winning an Academy Award (alongside Ray Rennahan) for Best Colour Cinematography.

Following 'GWTW' , Haller shot some of the best films made at Warner Brothers during the 1940's, his work perfectly suited to the gritty studio look of its product. He was particularly effective with the strong female stars of the company, Joan Crawford and Bette Davis (shooting 14 of her pictures), meticulously balancing make-up and lighting to bringing out their best features. He created an almost expressionistic mood for films like Mildred Pierce (1945) (for which he received another Oscar nomination) and Humoresque (1946). For the remainder of his career, Haller remained at Warners. Even after his contract expired in 1951, he was recalled for special assignments such as Rebel Without a Cause (1955), shot in CinemaScope, and the psychological drama What Ever Happened to Baby Jane? (1962), reuniting him once more with Davis and Crawford, albeit this time concerned with photographing them in a decidedly unglamorous fashion. He freelanced during the remainder of the 1960's and was semi-retired when asked by James Goldstone to step in as director of photography for the second pilot of Star Trek (1966), "Where No Man Has Gone Before". Ernest Haller was killed in a car crash in October 1970, aged 74.

Ray Rennahan started working behind movie cameras from 1917. Early on, he had the foresight to recognise the potential for dramatically enhancing motion pictures by the application of colour cinematography. During the 1920's, he was regarded as a leading innovator in the development of the three-strip Technicolor process. This was first applied in several sequences of an MGM musical, The Cat and the Fiddle (1934), and then saw the light of day in its entirety, in a live action two-reel short, entitled La Cucaracha (1934). Both were appropriately photographed by Rennahan. His next project was Becky Sharp (1935), the first feature length all-Technicolor movie.

The visual quality of this picture, particularly noted in the striking set pieces, prompted Darryl F. Zanuck at 20th Century Fox to hire Rennahan for Wings of the Morning (1937). This rather stolid melodrama was filmed on location in Ireland and England in 1935. It starred Henry Fonda and Annabella, and what was lacking in script, was primarily redeemed by Rennahan's stunning outdoor photography of the verdant countryside, and by his spectacular horse racing sequences (his first camera operator for this picture was one of the future greats of cinematography, Jack Cardiff). Rennahan continued with the racing theme in Kentucky (1938), and then worked with Bert Glennon on the outdoor western Drums Along the Mohawk (1939). That same year, he gained an Oscar (in conjunction with Ernest Haller) for his outstanding colour photography on Gone with the Wind (1939), for which he employed a faster film stock which required less lighting. Rennahan later won a second statuette for Blood and Sand (1941).

When not working directly behind the camera, Rennahan and his specialist team were often employed as consultants on the colour process. As director of photography, he also worked for David O. Selznick again, this time on the brilliant western epic Duel in the Sun (1946), constituting possibly some of his finest work. Between 1945 and 1953, he was under contract to Paramount. After 1957, he worked almost exclusively in television, with special emphasis on outdoor subjects and westerns.

Veteran cinematographer George S. Barnes had a well-earned reputation for reliability and a knack for combining artistry with economic efficiency. As a result, he was seldom out of work.

Having started as a still photographer for Thomas H. Ince in 1918, Barnes quickly rose through the ranks to director of photography. In the course of his career he spent time at just about every major studio in Hollywood: Paramount (1919-21), Metro (1924-25), United Artists (1926-31), MGM (1932), Warner Brothers (1933-38), 20th Century-Fox (1940-41), Universal (1942) and RKO (1942-48). During the 1920s he was the primary cinematographer for Samuel Goldwyn and was largely responsible for the success of films like The Dark Angel (1925). Under his auspices Gregg Toland learned his craft, particularly Barnes' trademark soft-edged, deep-focus photography and intuitive composition and camera movement. Barnes was an expert at lighting. He often utilized curtains or reflective surfaces to create patterns of light and shade. Most importantly, he perfectly suited the required style of photography to each individual assignment. He brought a vivid opulence to the dullish Technicolor romance Frenchman's Creek (1944), making it a triumph of style over content. His 'catoon colors' were just as perfectly suited to the fantasy adventure Sinbad, the Sailor (1947). At Warner Brothers the dark, somewhat grainy texture of films like Marked Woman (1937) was in sync with the realistic look the studio wanted to achieve for its product. He also excelled at shooting vivid dramatic scenes, such as the flood sequences featured in The Winning of Barbara Worth (1926).

Barnes did his best work in the 1940s, shooting two classic Alfred Hitchcock thrillers: for Rebecca (1940) he created an atmosphere of sinister foreboding, right from the beginning, with his shots of Manderley (Barnes was hired because Toland was unavailable, but he ended up winning an Academy Award); and Spellbound (1945), with its unsettling surrealist Salvador Dalí-designed dream sequence of wheels, eyes and staircases. A lesser, but nonetheless good-looking, addition to Barnes' resume is a minor film noir, The File on Thelma Jordon (1949). In contrast, he created a suitably lavish look for his color photography, which enlivened two charismatic swashbuckling adventures, The Spanish Main (1945) and Sinbad, the Sailor (1947). Popular with directors and producers (though he was once fired by David O. Selznick for failing to bring the best out of Jennifer Jones) and stars (Bing Crosby) alike, Barnes was continually employed until his death in 1953. He was also popular with the ladies, to which his seven marriages testify. One of his wives was the actress Joan Blondell.

Georges Périnal was born in 1897 in Paris, France. He was a cinematographer, known for The Thief of Bagdad (1940), The Life and Death of Colonel Blimp (1943) and Under the Roofs of Paris (1930). He died on 23 April 1965 in London, England, UK.

Arthur was known as one of Hollywood's most accomplished lighting cameramen, a master at black and white cinematography. Miller began his career at 13, serving as an assistant to cinematographer Fred J. Balshofer. (They co-authored a book entitled "Two Reels and a Crank" in 1967.) Miller photographed the serial "The Perils of Pauline" in 1914, later joining director George Fitzmaurice. He later signed on with Cecil B. DeMille and in 1932 received a long term contract with Fox Studios. Retiring in 1951, Miller served as president of the American Society of Cinematographers and in the 1960s he set up an extensive exhibit of vintage camera equipment for the ASC. Miller passed away shortly after completing the documentary entitled "The Moving Picture Camera."

Ernest Palmer was born on 6 December 1885 in Kansas City, Missouri, USA. He was a cinematographer, known for Blood and Sand (1941), Broken Arrow (1950) and Street Angel (1928). He died on 22 February 1978 in Pacific Palisades, California, USA.