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Illustrations Illustrations An early Edison filmstrip, photographed by William Kennedy Laurie Dickson 7 A scene from Alice Guy’s La Vie du Christ (1906), photographed by Anatole Thiberville 10 Victor Milner, far left, next to the camera, on Robert Florey’s romantic drama Till We Meet Again (1936) 20 Howard Hawks and the cast of Twentieth Century (1934) in a posed publicity shot, with cinematographer Joseph August kneeling next to the camera 21 A futuristic cityscape from Fritz Lang’s 1927 film Metropolis, photographed by Karl Freund, Günther Rittau, and Walter Ruttmann 29 Karl Freund, hands raised, right, directing The Mummy (1932), with cameraman Charles Stumar lining up a shot with star Boris Karloff 30 Karl Freund’s eccentric horror filmMad Love (1935), photographed by Gregg Toland and Chester Lyons, with Peter Lorre, the film’s star, on the right 31 Billy Bitzer at the camera, left; D. W. Griffith, right, during the shooting of Way Down East (1920) 36 A scene from F. W. Murnau’s classic vampire film Nosferatu (1922), photographed by Fritz Arno Wagner and an uncredited Günther Krampf 39 xi xii H Illustrations A complex setup from Edmund Goulding’s Grand Hotel (1932), photographed by William Daniels 45 Cinematographer William Daniels behind the camera on Rouben Mamoulian’s (seated, with glasses, on camera dolly) Queen Christina (1933) 46 The famous Odessa steps sequence from Sergei Eisenstein’s Battleship Potemkin (1925), photographed by Eduard Tisse 47 Cinematographer James Wong Howe early in his career 55 A scene from Frank Capra’s Meet John Doe (1941), with cinematography by George Barnes 68 A scene from F. W. Murnau and Robert Flaherty’s Tabu (1931), shot on location in the South Pacific, and photographed by cinematographer Floyd Crosby 71 Boris Kaufman (back to camera, with gray hair and glasses) doing some location shooting for director Sidney Lumet (first from left, popping out of the top of the Volkswagen) for Lumet’s The Pawnbroker (1964) 87 Nazi pageantry in Leni Riefenstahl’s Triumph of the Will (1935), photographed by a battalion of cameramen under the direction of Sepp Allgeier 89 Cinematographer Sid Hickox, extreme right, with glasses, supervising a scene in To Have and Have Not (1944), as director Howard Hawks, left, seated on stool, watches the action 90 Humphrey Bogart and Lauren Bacall in Howard Hawks’s The Big Sleep (1946), gorgeously photographed by Sid Hickox 91 Orson Welles pointing for emphasis as cinematographer Gregg Toland, legs crossed, looks on during the production of Welles’s Citizen Kane (1941) 99 William Wyler’s tale of returning World War II veterans The Best Years of Our Lives (1946), photographed by Gregg Toland 102 Burnett Guffey, third from left, with light meter, taking a reading on the set of From Here to Eternity (1953), as stars Donna Reed and Montgomery Clift rehearse a scene and director Fred Zinnemann, far left, looks on 124 Alfred Hitchcock lining up a scene with director of cinematography Ted Tetzlaff (partially obscured by Hitchcock’s hand) for his thriller Notorious (1946) 128 Illustrations H xiii Sam Wood, seated, directing a scene from Hold Your Man (1933), starring Jean Harlow and Clark Gable, as cinematographer Harold Rosson looks on 135 Jean Cocteau gesturing to the camera as Henri Alekan (entirely obscured, peering through the viewfinder under a black cloth) sets up a shot for his classic Beauty and the Beast (1946) 143 Russell Metty looking through the viewfinder on the set of Orson Welles’s Touch of Evil (1958) 162 Ernest Haller, far right with glasses, leaning on motorcycle, on the set of Robert Aldrich’s (seated, on motorcycle) Gothic horror filmWhatever Happened to Baby Jane? (1962) 165 Father and son in desperate straits in Vittorio De Sica’s Bicycle Thieves (1948), photographed by Carlo Montuori 169 An expressionistic scene from Ingmar Bergman’s The Seventh Seal (1957), photographed by Gunnar Fischer, with Bengt Ekerot as Death and Max von Sydow as the Knight 171 Sven Nykvist and Ingmar Bergman relaxing for a moment on the set of Bergman’s Persona (1966) 173 A typical setup from Yasujirô Ozu’s 1953 masterpiece Tokyo Story, photographed by Yûhara Atsuta 174 A scene from Jean-Luc Godard’s Breathless (1960), with Jean-Paul Belmondo and Jean Seberg, photographed by Raoul Coutard 182 A pensive Antoine Doinel (Jean-Pierre Léaud) in François Truffaut’s debut feature,The 400 Blows (1959), photographed by Henri Decaë 187 David and Albert Maysles shooting their groundbreaking documentary Salesman (1966), using a handheld camera, available light, and a portable 16 mm camera 193 Freddie Francis, left, in raincoat, lining up a shot on Jack Clayton’s Room at the Top (1959) 195 Harpsichordist Gustav Leonhardt as Johann Sebastian Bach in Jean-Marie Straub and Danièle Huillet’s The Chronicle of Anna Magdalena Bach (1968), photographed by Ugo Piccone 201 A scene from Pier Paolo Pasolini’s neorealist The Gospel According to St. Matthew (1964), photographed by Tonino Delli Colli, with nonprofessional actor Enrique Irazoqui as Christ 203 Marcello Mastroianni and companions in Federico Fellini’s 1960 masterpiece La Dolce Vita, photographed by Otello Martelli 206 xiv H Illustrations Gerard Malanga and Andy Warhol, at the start of Warhol’s prolific career as a filmmaker 208 Director Jean-Luc Godard, who with cinematographer Raoul Coutard changed the grammar of cinema 216 Fake black and white: The Artist (2011, directed by Michel Hazanavicius and photographed by Guillaume Schiffman) — shot in color, but screened in monochrome 219 All images courtesy Jerry Ohlinger Archives.
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