American Cinematographer - January 2020 - 70
Truth to Light
Rob visits the ranch of Wilbur Tennant (Bill Camp)
and learns of the "unexplained" deaths of the
farmer's cows. This sequence was shot in the
coolness of winter light, mirroring the emotions
of the scene.
is affected by the chemical process of
developing, and the cross-over contamination of contrasting colors in the
negative's silver halides, bring attributes to an image that I find extremely
difficult to create in digital capture,"
Lachman says. And the fact that the
story takes place over a time period
starting in the 1970s "was another
reason we wanted to shoot on film,
the way it would have been seen at
that time."
Skeptical producers required
Lachman to shoot tests in multiple
film and digital formats to support
the filmmakers' arguments that film
would neither add cost nor slow
down production. He shot the tests
on Super 16mm and 35mm film,
and in 2K large-format digital.
A sense of authenticity and an observational style was important to the filmmakers as they embarked on Dark Waters.
Much of the film was shot in and around Cincinnati locations, where the actual events occurred over the decades - from the
'70s through to the present. Haynes and Lachman also found inspiration in a number of still photographs in which the photographers avoided the stereotypical view of Appalachia, and instead depicted the people's experience of rural life, and explored
their subjects' inner lives. Additionally, Lachman mentions photographers William Gedney, William Eggleston and Mitch
Epstein, along with Tennessee-based documentary photographer Mike Smith, "who imparted a poetic sense of the commonplace in everyday life. For me, all of these images of suburban and rural areas present an unexpected beauty in an imperfect
world, not just through a representational view but also a psychological one."
70
January 2020
American Cinematographer - 100 Years
American Cinematographer - January 2020
Table of Contents for the Digital Edition of American Cinematographer - January 2020
Contents
American Cinematographer - January 2020 - Intro
American Cinematographer - January 2020 - Cover1
American Cinematographer - January 2020 - Cover2
American Cinematographer - January 2020 - 1
American Cinematographer - January 2020 - Contents
American Cinematographer - January 2020 - 3
American Cinematographer - January 2020 - 4
American Cinematographer - January 2020 - 5
American Cinematographer - January 2020 - 6
American Cinematographer - January 2020 - 7
American Cinematographer - January 2020 - 8
American Cinematographer - January 2020 - 9
American Cinematographer - January 2020 - 10
American Cinematographer - January 2020 - 11
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American Cinematographer - January 2020 - 14
American Cinematographer - January 2020 - 15
American Cinematographer - January 2020 - 16
American Cinematographer - January 2020 - 17
American Cinematographer - January 2020 - 18
American Cinematographer - January 2020 - 19
American Cinematographer - January 2020 - 20
American Cinematographer - January 2020 - 21
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American Cinematographer - January 2020 - 27
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American Cinematographer - January 2020 - 37
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American Cinematographer - January 2020 - 65
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American Cinematographer - January 2020 - 67
American Cinematographer - January 2020 - 68
American Cinematographer - January 2020 - 69
American Cinematographer - January 2020 - 70
American Cinematographer - January 2020 - 70a
American Cinematographer - January 2020 - 70b
American Cinematographer - January 2020 - 71
American Cinematographer - January 2020 - 72
American Cinematographer - January 2020 - 73
American Cinematographer - January 2020 - 74
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American Cinematographer - January 2020 - 84
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American Cinematographer - January 2020 - 100
American Cinematographer - January 2020 - 101
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American Cinematographer - January 2020 - 103
American Cinematographer - January 2020 - 104
American Cinematographer - January 2020 - Cover3
American Cinematographer - January 2020 - Cover4
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