American Cinematographer - March 2008 - (Page 82)

In Memoriam John McPherson, ASC, 1941-2007 being a director of photography with a short film, shot on 16mm, about track and field. As he went on to college — a journey that would take him through El Camino College, Los Angeles Harbor College, La Salle University and UCLA — he nurtured an appreciation for fine art in general and painting in particular, and was especially taken with the Impressionists. McPherson’s early jobs in the film industry found him in the electric department, where he notched credits working for such ASC luminaries as Milton Krasner, Leon Shamroy and Sid Hickox. All the while, McPherson never strayed far from the camera, and it was Shamroy who helped him get into the camera union — then Local 659 — as a director of photography in 1974. His first union job as cinematographer was for the Universal television series Kojak. “I first met John when he was the gaffer on Moving Violation, a movie of the week shot by Charles Correll, ASC,” recalls Rick Gunter, ASC, who worked with McPherson for eight years. “A few months later, Universal pulled me in to be the 2nd AC on Kojak, and they said, ‘We’ve got a new cameraman.’ It was John McPherson.” McPherson went on to shoot the series The Incredible Hulk, and in 1980 he received an Emmy nomination for his work on the show. “He had a great eye and he was always willing to try something new,” says Gunter, who advanced from 1st AC to operator on the show. “I remember going into a party scene, and he said, ‘Well, everybody has candles, so let’s just light the whole scene with those!’” 1980 also witnessed McPherson’s induction into the ASC after he was recommended for membership by George Folsey, Milton Krasner and Harry Wolf. Seven years later, the Society rewarded his work on the series Amazing Stories with an ASC Award nomination. (The cinematographer’s work for the series was also feted with an Emmy Award and an Emmy nomination in ‘86 and ‘87, respectively.) McPherson began directing as well as shooting during his tenure on The Incredible Hulk, and in 1984, he joined the Directors Guild of America. He continued shooting into the early ‘90s, earning credits on such projects as Jaws: The Revenge, *batteries not included, Short Circuit 2 and Fletch Lives. Through the rest of the decade, he focused on directing for television, leaving his mark on Swamp Thing, Sliders, Babylon 5 and Nash Bridges, to name only a few. Additionally, he tried on his producing cap while in the director’s chair on the movies of the week Dirty Work and Fade to Black. “John was an incredible person,” says Gunter. “He was a gentleman, and he made everybody feel special.” McPherson is survived by his son, Brian; his daughter, Wendi; and seven grandchildren. — Jon D. Witmer I mmy-winning cinematographer John A. McPherson, ASC, whose indelible images of Kojak, the Incredible Hulk, Fletch and Johnny Five defined generations of television viewers and moviegoers, died on Dec. 21. He was 65. Born to Mac and Antoinette McPherson on Dec. 30, 1941, John grew up in Manhattan Beach, California. He attended military school as a child, and at the age of 7, he received his first camera. He was infatuated with capturing images from then on. In high school, McPherson began experimenting with motion pictures, and in 1957, he took his first stab at E 82 March 2008

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American Cinematographer - March 2008 Contents Editor’s Note Short Takes: Bill Viola’s Ocean Without a Shore Production Slate: 4 Months, 3 Weeks and 2 Days Production Slate: Chantal: A Night at the Pyramids Magical Mystery Tour Some Kind of Monster Tantalizing Television Making Sitcoms “Sexy” Post Focus: Mega Playground Helps Set Look for Sibling Post Focus: Visual Effects Society Launches White Paper New Products & Services International Marketplace Classified Ads Ad Index In Memoriam: John McPherson, ASC ASC Membership Roster Clubhouse News ASC Close-Up: Wayne Kennan

American Cinematographer - March 2008

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