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Through conversations held with fifteen of the most accomplished contemporary cinematographers, the authors explore the working world of the person who controls the visual look and style of a film. This reissue includes a new foreword by cinematographer John Bailey and a new preface by the authors, which bring this classic guide to cinematography, in print for more than twenty-five years, into the twenty-first century.

The family had requested that in case his father does win, director Sam Mendes, who hired [Conrad L. Hall] for \"Perdition\" and \"American Beauty\" would accept the honor. However the Academy said no, saying it only allows stand-ins for posthumous winners if they are an \"appropiate member of the family,\" so Hall's son, not Mendes, will reluctantly take the stage in case his name is in the envelope.

\"Throughout his brilliant career behind the camera, Conrad Hall, ASC, had a keen eye for what he called 'the happy accident, the magic moment.' Like a dowser seeking water, Hall used his camera as a divining rod, following his instincts toward an existential font of imagery. His willingness to take risks resulted in a rich cornucopia of cinematic triumphs, an aesthetic legacy that earned him the unflagging admiration of both his peers and film lovers the world over.\" (American Cinematographer) This profile of Conrad's \"long and illustrious career\" as a cinematographer details some of the most \"magical, indelible moments\" that he captured on film. The evolution of his cinematography, which \"seemed to grow stronger with each picture,\" is traced and the essence of his filmmaking philosophy is defined.

In a career that spanned 32 films, the Tahiti-born Hall won Oscars for two of them 30 years apart: Butch Cassidy and the Sundance Kid (1969) and American Beauty in 1999.

Conrad L. Hall, a Hollywood cinematographer with a bohemian's soul and an artist's obsessiveness, who was nominated for nine Oscars and won two of them, three decades apart, died on Jan. 4 in Santa Monica, Calif. He was 76 and split his time between a vintage penthouse just off the Sunset Strip and a private island just off Tahiti. His father, James Norman Hall, had moved to Tahiti after reading a book about the mutiny on HMS Bounty. There, he and a collaborator, Charles Nordhoff, wrote their own \"Mutiny on the Bounty\" trilogy and it became the source for the 1935 Oscar-winning film starring Clark Gable. The elder Hall named his son after his favorite South Pacific writer, Joseph Conrad.

Conrad L. Hall, a Hollywood cinematographer with a bohemian's soul and an artist's obsessiveness, who was nominated for nine Oscars and won two of them, three decades apart, died on Saturday in Santa Monica, Calif. He was 76 and split his time between a vintage penthouse just off the Sunset Strip and a private island just off Tahiti. His father, James Norman Hall, had moved to Tahiti after reading a book about the mutiny on H.M.S. Bounty. There, he and a collaborator, Charles Nordhoff, wrote their own ''Mutiny on the Bounty'' trilogy and it became the source for the 1935 Oscar-winning film starring Clark Gable. The elder Mr. Hall named his son after his favorite South Pacific writer, Joseph Conrad. Two films with Paul Newman -- ''Harper'' (1966) and ''Cool Hand Luke'' (1967) -- helped him land the job on ''[Butch Cassidy] and the Sundance Kid,'' probably his most admired work. While working on that film that he met his first wife, the actress Katharine Ross, to whom he was married from 1969 to 1975.

He shot in black and white and color, evoking chilly realism in \"In Cold Blood\" and color-soaked surrealism in \"American Beauty.\" He struggled at first with that film, Sam Mendes' dark, absurd portrait of a dysfunctional family, Mr. Hall once told an interviewer.