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	<title>John Bailey&#039;s Bailiwick</title>
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	<description>The online journal of the American Society of Cinematographers</description>
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		<title>The Cinematographer Today:  Evolution or Devolution? — Part One</title>
		<link>http://www.ascmag.com/blog/2010/08/30/the-cinematographer-today-evolution-or-devolution-%e2%80%91-part-one/</link>
		<comments>http://www.ascmag.com/blog/2010/08/30/the-cinematographer-today-evolution-or-devolution-%e2%80%91-part-one/#comments</comments>
		<pubDate>Mon, 30 Aug 2010 08:00:42 +0000</pubDate>
		<dc:creator>John Bailey, ASC</dc:creator>
				<category><![CDATA[John’s Bailiwick]]></category>

		<guid isPermaLink="false">http://www.ascmag.com/blog/?p=2022</guid>
		<description><![CDATA[ONE
Several weeks ago, I emailed a photo of a 35mm film camera to Phil Radin, a long-time friend. He has been a fixture at Panavision longer than most of the camera equipment (just joking Phil), and has served as its executive vice-president of worldwide marketing since 1995. The photo I sent him is of the [...]]]></description>
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		<slash:comments>2</slash:comments>
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		<item>
		<title>Willy Ronis: “Emperor of the Banal”</title>
		<link>http://www.ascmag.com/blog/2010/08/23/willy-ronis-%e2%80%9cemperor-of-the-banal%e2%80%9d/</link>
		<comments>http://www.ascmag.com/blog/2010/08/23/willy-ronis-%e2%80%9cemperor-of-the-banal%e2%80%9d/#comments</comments>
		<pubDate>Mon, 23 Aug 2010 08:00:07 +0000</pubDate>
		<dc:creator>John Bailey, ASC</dc:creator>
				<category><![CDATA[John’s Bailiwick]]></category>

		<guid isPermaLink="false">http://www.ascmag.com/blog/?p=1913</guid>
		<description><![CDATA[The moniker “Emperor of the Banal” is not one with which photographer Willy Ronis would have taken offense. It was given to him by friends and colleagues, who also called him the “Poet of the Quotidian.” During a career covering more than seven decades, this Parisian born artist (1910) captured the small incidents in the [...]]]></description>
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		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>James Nachtwey’s “Aftershock”</title>
		<link>http://www.ascmag.com/blog/2010/08/16/james-nachtwey%e2%80%99s-%e2%80%9caftershock%e2%80%9d/</link>
		<comments>http://www.ascmag.com/blog/2010/08/16/james-nachtwey%e2%80%99s-%e2%80%9caftershock%e2%80%9d/#comments</comments>
		<pubDate>Mon, 16 Aug 2010 08:00:58 +0000</pubDate>
		<dc:creator>John Bailey, ASC</dc:creator>
				<category><![CDATA[John’s Bailiwick]]></category>

		<guid isPermaLink="false">http://www.ascmag.com/blog/?p=1879</guid>
		<description><![CDATA[This is a photo of the bare exhibition space of a most unusual gallery.
The name of the gallery is also its address on Manhattan’s West Street, a long walk and a world away from the glitz and glam of Chelsea’s affluent exhibition spaces. 401 Projects stands alone as an art space in a busy commercial [...]]]></description>
		<wfw:commentRss>http://www.ascmag.com/blog/2010/08/16/james-nachtwey%e2%80%99s-%e2%80%9caftershock%e2%80%9d/feed/</wfw:commentRss>
		<slash:comments>0</slash:comments>
		</item>
		<item>
		<title>“Cinematographer vs. Producer”</title>
		<link>http://www.ascmag.com/blog/2010/08/09/%e2%80%9ccinematographer-vs-producer%e2%80%9d/</link>
		<comments>http://www.ascmag.com/blog/2010/08/09/%e2%80%9ccinematographer-vs-producer%e2%80%9d/#comments</comments>
		<pubDate>Mon, 09 Aug 2010 08:00:18 +0000</pubDate>
		<dc:creator>John Bailey, ASC</dc:creator>
				<category><![CDATA[John’s Bailiwick]]></category>

		<guid isPermaLink="false">http://www.ascmag.com/blog/?p=1941</guid>
		<description><![CDATA[ONE
Early last week a fellow cinematographer whom I have known since our student days at USC Cinema sent me a link to a short animated video. I watched it, intrigued by the confrontation of its two opponents—a cinematographer and a producer. The sparks from this verbal set-to are, in fact, both incendiary and hilarious. The [...]]]></description>
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		<slash:comments>29</slash:comments>
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		<item>
		<title>Looking, Looking But Not Seeing</title>
		<link>http://www.ascmag.com/blog/2010/08/02/looking-looking-but-not-seeing/</link>
		<comments>http://www.ascmag.com/blog/2010/08/02/looking-looking-but-not-seeing/#comments</comments>
		<pubDate>Mon, 02 Aug 2010 08:00:39 +0000</pubDate>
		<dc:creator>John Bailey, ASC</dc:creator>
				<category><![CDATA[John’s Bailiwick]]></category>

		<guid isPermaLink="false">http://www.ascmag.com/blog/?p=1862</guid>
		<description><![CDATA[ONE

The cavernous expanse of Paris’ Musée d’Orsay is one of the world’s most pleasurable places to see art. Even with the 5th floor Impressionist Galleries undergoing the first full-scale renovation since its 1986 opening, this must-see collection of 19th century French art housed in a once long closed railway station and one time site of [...]]]></description>
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		<slash:comments>8</slash:comments>
		</item>
		<item>
		<title>Eyeless in Gaza: Joe Sacco and Reportage Comics</title>
		<link>http://www.ascmag.com/blog/2010/07/26/eyeless-in-gaza-joe-sacco-and-reportage-comics/</link>
		<comments>http://www.ascmag.com/blog/2010/07/26/eyeless-in-gaza-joe-sacco-and-reportage-comics/#comments</comments>
		<pubDate>Mon, 26 Jul 2010 08:00:58 +0000</pubDate>
		<dc:creator>John Bailey, ASC</dc:creator>
				<category><![CDATA[John’s Bailiwick]]></category>

		<guid isPermaLink="false">http://www.ascmag.com/blog/?p=1781</guid>
		<description><![CDATA[ONE
As he draws himself in his comics panels, Joe Sacco wears large-rimmed round glasses— but behind the lenses there are no eyes. In real life,however, those eyes are searching and penetrating, a camera lens-like witness to the world rendered in his graphic art. Joe Sacco, as a cartoon character, with his buzz cut, full lips [...]]]></description>
		<wfw:commentRss>http://www.ascmag.com/blog/2010/07/26/eyeless-in-gaza-joe-sacco-and-reportage-comics/feed/</wfw:commentRss>
		<slash:comments>4</slash:comments>
		</item>
		<item>
		<title>Maureen Bisilliat: Brazil’s Camera Poet</title>
		<link>http://www.ascmag.com/blog/2010/07/19/maureen-bisilliat-brazil%e2%80%99s-camera-poet/</link>
		<comments>http://www.ascmag.com/blog/2010/07/19/maureen-bisilliat-brazil%e2%80%99s-camera-poet/#comments</comments>
		<pubDate>Mon, 19 Jul 2010 08:00:01 +0000</pubDate>
		<dc:creator>John Bailey, ASC</dc:creator>
				<category><![CDATA[John’s Bailiwick]]></category>

		<guid isPermaLink="false">http://www.ascmag.com/blog/?p=1724</guid>
		<description><![CDATA[ONE
Her name isn’t Brazilian. But for Brazilians she is as Brazil as samba; her instrument is her camera. At the beginning of a TV interview earlier this year on the program Provoçaões (Provocations), host Antônio Abujamra introduced his guest, the 79-year-old English photographer and filmmaker, Maureen Bissiliat, by noting that she has lived and worked [...]]]></description>
		<wfw:commentRss>http://www.ascmag.com/blog/2010/07/19/maureen-bisilliat-brazil%e2%80%99s-camera-poet/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>Last Man Standing in Toxic Town: Part Three</title>
		<link>http://www.ascmag.com/blog/2010/07/12/last-man-standing-in-toxic-town-part-three/</link>
		<comments>http://www.ascmag.com/blog/2010/07/12/last-man-standing-in-toxic-town-part-three/#comments</comments>
		<pubDate>Mon, 12 Jul 2010 08:00:18 +0000</pubDate>
		<dc:creator>John Bailey, ASC</dc:creator>
				<category><![CDATA[John’s Bailiwick]]></category>

		<guid isPermaLink="false">http://www.ascmag.com/blog/?p=1655</guid>
		<description><![CDATA[
This past Memorial Day dozens of American flags flanked the perimeter of the G.A.R. Cemetery next to historic U.S. highway 66, on the northern edge of Miami, Oklahoma. American flags whipping in the prairie breeze are a common sight in this part of the country on the day that celebrates the dead of our nation’s [...]]]></description>
		<wfw:commentRss>http://www.ascmag.com/blog/2010/07/12/last-man-standing-in-toxic-town-part-three/feed/</wfw:commentRss>
		<slash:comments>1</slash:comments>
		</item>
		<item>
		<title>3-D, 3-D, 3-D, in All Directions</title>
		<link>http://www.ascmag.com/blog/2010/06/28/3-d-3-d-3-d-in-all-directions/</link>
		<comments>http://www.ascmag.com/blog/2010/06/28/3-d-3-d-3-d-in-all-directions/#comments</comments>
		<pubDate>Mon, 28 Jun 2010 08:00:04 +0000</pubDate>
		<dc:creator>John Bailey, ASC</dc:creator>
				<category><![CDATA[John’s Bailiwick]]></category>

		<guid isPermaLink="false">http://www.ascmag.com/blog/?p=1697</guid>
		<description><![CDATA[


ONE
Is this camera rig the future of American filmmaking?
If you agree with the predictions of some of our most successful studio executives, producers, and directors—the answer is an unequivocal YES. And it is an affirmation that resonates through the multiplexes and into the offices of movie exhibitors who are newly flush with wondrous grosses from [...]]]></description>
		<wfw:commentRss>http://www.ascmag.com/blog/2010/06/28/3-d-3-d-3-d-in-all-directions/feed/</wfw:commentRss>
		<slash:comments>22</slash:comments>
		</item>
		<item>
		<title>Roberto Rossellini and World War II: Part Three</title>
		<link>http://www.ascmag.com/blog/2010/06/21/roberto-rossellini-and-world-war-ii-part-three/</link>
		<comments>http://www.ascmag.com/blog/2010/06/21/roberto-rossellini-and-world-war-ii-part-three/#comments</comments>
		<pubDate>Mon, 21 Jun 2010 08:00:18 +0000</pubDate>
		<dc:creator>John Bailey, ASC</dc:creator>
				<category><![CDATA[John’s Bailiwick]]></category>

		<guid isPermaLink="false">http://www.ascmag.com/blog/?p=1605</guid>
		<description><![CDATA[
“The darkest part of the tragedy was when the Germans occupied Italy, after Italy had signed the armistice. So I wanted to see the Germans close-up, to see them in the context of their tragedy, their drama.” This is how Roberto Rossellini introduced a French television broadcast in 1963 of Deutschland im Jahre Null (Germany, [...]]]></description>
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		<slash:comments>3</slash:comments>
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