Filmmakers find time to be still

CINEMATOGRAPHERS are known as “masters of light” when it comes to the moving image. But an exhibition at the Academy of Motion Picture Arts and Sciences reveals them to have an uncanny eye, and passion, for still photography as well.

“The ‘Decisive Moment’ Revisited: Fine Art Photography by the Cinematographers of the A.S.C.,” at the academy’s Grand Lobby Gallery, showcases the fine art photography of 77 international cinematographers, including 10 Oscar nominees and seven winners. Conrad Hall, Janusz Kaminski, John Toll, Dean Semler, Vilmos Zsigmond and Owen Roizman are among those with work on display.

The exhibition, which continues through Dec. 11, is an offshoot of a one-night exhibition presented by the American Society of Cinematographers. “They were looking for another opportunity for the public to see it,” says curator Ellen Harrington. Though the original exhibition was larger -- it featured some 150 photographs -- this time the academy opted for just one photograph from each cinematographer.

“It’s a wonderful representation, and at the same time everybody gets a nice amount of wall space,” Harrington says. “These are photographs they took on their personal time, vacation time or downtime on the set.”

Roizman, who received Oscar nominations for his work on such classics as “The French Connection,” “The Exorcist” and “Network,” has been a shutterbug since he was a boy. Now retired, he spends his time shooting photographs of A.S.C. members for their monthly magazine. He usually carries two digital cameras with him at all times.

“I only shoot digital now,” he says. “I like instant gratification. I shoot color mostly, but sometimes I do photos in black and white and sepia, whatever fits my fancy. I am just obsessed with [photography].”

When A.S.C. member and fine art photographer Francis Kenny came up with the idea to have his peers submit their fine art, some photographers were reluctant.

“We sent out letters to everyone,” recalls Roizman. “Cinematographers in general are very shy. It is hard to get them to talk about their work, but we had one night at the A.S.C. and said to everyone to bring in a photo or sculpture or piece of art.... That is when this idea came about to put this together and make something out of it.”

He believes cinematographers embrace the still format because they can express their personal aesthetic without the interference of directors, producers or studios.

“There is nobody over my shoulder,” says Roizman. “There are no deadlines. I can do what I want. That’s what I love about it.”

The photographs on display, primarily in black and white, include Semler’s (“Dances With Wolves”) stunning study of a hotel in a snowstorm that resembles a pencil etching. Kaminski (“Schindler’s List”) chose a study of nuns, Toll (“Braveheart”) offered a poetic examination of County Kerry in Ireland, and Haskell Wexler’s entry is an offbeat self-portrait.

One of the most stunning color pictures -- a study of a white flower against a black backdrop -- was shot by Russell Carpenter of “Titanic” fame.

“You should see his collection of flowers,” remarks Roizman. “I have three or four of them hanging in my house. He does all kinds of flowers against all kinds of backgrounds. Every one is different.”

Roizman’s impressionistic black-and-white photograph in the exhibition was shot more than 30 years ago on the set of the original “Stepford Wives.” He used star Katharine Ross’ Nikon to shoot the picture, of two people braving the rain.

“She had a Nikon sitting on the dashboard of the car, and rain was pouring down on the windshield. I just said, ‘Look at that.’ I just shot a few pictures, put the camera back and didn’t think anything of it. I mentioned it to her later. When the picture was over, I got this letter from her and she sent me the negatives!”

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The ‘Decisive Moment’ Revisited: Fine Art Photography by the Cinematographers of the A.S.C.

Where: The Grand Lobby, Academy of Motion Picture Arts & Sciences, 8949 Wilshire Blvd., Beverly Hills

When: 10 a.m. to 5 p.m. Tuesdays through Fridays;

noon to 6 p.m. Saturdays and Sundays

Ends: Dec. 11

Price: Free

Contact: (310) 247-3600 or go to www.oscars.org