American Cinematographer - March 2011 - 64
◗
Photographing Movie History
Clockwise from top left: Kirkland “busts a move,” to the delight of Grace Jones, poses for a snap with Bette Davis, and sets his frame for a shot of legendary French cinematographer Raoul Coutard in 2010.
Watkin, BSC on Out of Africa. Kirkland recalls, “I was shooting Kodachrome at the time because it was just the best for clarity and saturation, but I wanted to give the images something of a sepia look. So even though Kodachrome was daylight balanced, I shot with an 85 filter. When David saw the pictures, he liked the look so much he decided to give the whole film a warmer look. That was very flattering!” Kirkland’s editors typically did not share his interest in the craft of filmmaking, instead favoring shots of celebrities, and in his celebrity portraiture Kirkland has captured some amazing candids of such icons as John
64 March 2011
Lennon, Marilyn Monroe, Peter Sellers, Marlon Brando and Charlie Chaplin. “My thing is to be honest, and most celebrities respond to that,” he declares. “We all know there are a few arrogant lost souls in the business, but I’ve found that nine out of 10 are good if you are honest with them and have the right attitude. I am as at ease with celebrities as the members of the ASC are. It’s part of the job.” When Look went out of business in 1971, the company returned photo copyrights to its staff photographers. “They were nice Midwestern people,” notes Kirkland. “They felt that was the right thing to do, letting the photograAmerican Cinematographer
phers own the work they had made. Some of the work went to the Library of Congress, but all the photographers had access to it whenever they needed it. Can you imagine a company doing that today?” By then very well established, Kirkland segued into a staff job for Look’s primary competitor, Life, and he continued working for Life in its many different forms until the magazine shut down in the 1990s. Most of this work was also celebrity and entertainmentindustry driven. During this time, Kirkland also freelanced for numerous other publications, tackling travel photography in Siberia, Africa and South America, and science-related work for such magazines as Geo and Omni. Today, Kirkland continues to work six or seven days a week, and Françoise, his wife of more than 40 years, remains an integral part of his business. Though the technology and business landscape in the world of photography have changed enormously since his career began, Kirkland is always optimistic when budding photographers ask him about the future. “You have to keep at it and try to find a way in,” he notes. “If I had to do it over, I couldn’t do it the same way now, but I would find a way. I think a lot of young photographers are doing that.” ●
American Cinematographer - March 2011
Table of Contents for the Digital Edition of American Cinematographer - March 2011
American Cinematographer - March 2011
Contents
Editor’s Note
President’s Desk
Short Takes: Nowhere Near Here
Production Slate: Image Interchange Framework • The Imperialists Are Still Alive!
Master Plans
Weekly Wonders
Lessons Well Learned
Photographing Movie History
Filmmakers’ Forum: Lisa Wiegand
New Products & Services
International Marketplace
Classified Ads
Ad Index
In Memoriam: Gene Polito, ASC
ASC Membership Roster
Clubhouse News
ASC Close-Up: Crescenzo Notarile
American Cinematographer - March 2011 - American Cinematographer - March 2011
American Cinematographer - March 2011 - Cover2
American Cinematographer - March 2011 - 1
American Cinematographer - March 2011 - 2
American Cinematographer - March 2011 - Contents
American Cinematographer - March 2011 - 4
American Cinematographer - March 2011 - 5
American Cinematographer - March 2011 - 6
American Cinematographer - March 2011 - 7
American Cinematographer - March 2011 - Editor’s Note
American Cinematographer - March 2011 - 9
American Cinematographer - March 2011 - President’s Desk
American Cinematographer - March 2011 - 11
American Cinematographer - March 2011 - Short Takes: Nowhere Near Here
American Cinematographer - March 2011 - 13
American Cinematographer - March 2011 - 14
American Cinematographer - March 2011 - 15
American Cinematographer - March 2011 - Production Slate: Image Interchange Framework • The Imperialists Are Still Alive!
American Cinematographer - March 2011 - 17
American Cinematographer - March 2011 - 18
American Cinematographer - March 2011 - 19
American Cinematographer - March 2011 - 20
American Cinematographer - March 2011 - 21
American Cinematographer - March 2011 - 22
American Cinematographer - March 2011 - 23
American Cinematographer - March 2011 - 24
American Cinematographer - March 2011 - 25
American Cinematographer - March 2011 - Master Plans
American Cinematographer - March 2011 - 27
American Cinematographer - March 2011 - 28
American Cinematographer - March 2011 - 29
American Cinematographer - March 2011 - 30
American Cinematographer - March 2011 - 31
American Cinematographer - March 2011 - 32
American Cinematographer - March 2011 - 33
American Cinematographer - March 2011 - 34
American Cinematographer - March 2011 - 35
American Cinematographer - March 2011 - 36
American Cinematographer - March 2011 - 37
American Cinematographer - March 2011 - Weekly Wonders
American Cinematographer - March 2011 - 39
American Cinematographer - March 2011 - 40
American Cinematographer - March 2011 - 41
American Cinematographer - March 2011 - 42
American Cinematographer - March 2011 - 43
American Cinematographer - March 2011 - 44
American Cinematographer - March 2011 - 45
American Cinematographer - March 2011 - 46
American Cinematographer - March 2011 - 47
American Cinematographer - March 2011 - 48
American Cinematographer - March 2011 - 49
American Cinematographer - March 2011 - Lessons Well Learned
American Cinematographer - March 2011 - 51
American Cinematographer - March 2011 - 52
American Cinematographer - March 2011 - 53
American Cinematographer - March 2011 - 54
American Cinematographer - March 2011 - 55
American Cinematographer - March 2011 - 56
American Cinematographer - March 2011 - 57
American Cinematographer - March 2011 - Photographing Movie History
American Cinematographer - March 2011 - 59
American Cinematographer - March 2011 - 60
American Cinematographer - March 2011 - 61
American Cinematographer - March 2011 - 62
American Cinematographer - March 2011 - 63
American Cinematographer - March 2011 - 64
American Cinematographer - March 2011 - 65
American Cinematographer - March 2011 - Filmmakers’ Forum: Lisa Wiegand
American Cinematographer - March 2011 - 67
American Cinematographer - March 2011 - New Products & Services
American Cinematographer - March 2011 - 69
American Cinematographer - March 2011 - 70
American Cinematographer - March 2011 - 71
American Cinematographer - March 2011 - 72
American Cinematographer - March 2011 - 73
American Cinematographer - March 2011 - International Marketplace
American Cinematographer - March 2011 - Classified Ads
American Cinematographer - March 2011 - Ad Index
American Cinematographer - March 2011 - 77
American Cinematographer - March 2011 - In Memoriam: Gene Polito, ASC
American Cinematographer - March 2011 - 79
American Cinematographer - March 2011 - ASC Membership Roster
American Cinematographer - March 2011 - 81
American Cinematographer - March 2011 - Clubhouse News
American Cinematographer - March 2011 - 83
American Cinematographer - March 2011 - ASC Close-Up: Crescenzo Notarile
American Cinematographer - March 2011 - Cover3
American Cinematographer - March 2011 - Cover4
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