Tag Archives: cinematography

When cinematographers strive for the “ugly”

On Roger Deakins’ Instagram, he recently posted a quote from the incomparable Conrad L. Hall: Connie used to say he wanted his films to look ugly, to capture something that we [cinematographers] shy away from [beautifully lit images] in making movies. Ugliness can have a certain beauty as well. There’s a strange dichotomy going on there.

What is Ugly Cinematography?

What Hall was championing is eschewing the most flattering and revealing lighting set-ups; withholding visual information is just as important as withholding narrative information. And “ugly” cinematography by a Deakins or a Hall or a Libatique or a Debie won’t be ugly-ugly (which for most means poorly composed and lit), but where harshness overrides the glamor.

Take a look at this clip from IN COLD BLOOD (shot by Hall) and notice the high contrast lighting doesn’t illuminate Robert Blake (yes, that Robert Blake) in a way that makes him look agreeable or even handsome. But the beauty of the image is sublime.

Continue reading When cinematographers strive for the “ugly”

Large-Format Cameras and Lenses

The other day my brother Alex and I were talking about large-format cinema cameras and what makes that acquisition format special, considering that the Oscar-winning film THE REVENANT used the Alexa 65, and just prior to that DP Robert Elswitt, ASC photographed the underwater vault sequence in MISSON: IMPOSSIBLE – ROGUE NATION with the same camera. He needed the highest resolution and frame size for the extensive CG work required to pull off that amazing, high-tension moment.

Large-format cinema, primarily 70mm films from the late 50s through late 60s have always fascinated me, starting with LAWRENCE OF ARABIA.

maxresdefault Continue reading Large-Format Cameras and Lenses