{"product_id":"september-2026-american-cinematographer-copy","title":"October 2026 American Cinematographer","description":"\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif;\"\u003eThe \u003cstrong\u003e\u003cspan style=\"color: rgb(255, 42, 0);\"\u003eOctober 2026\u003c\/span\u003e\u003c\/strong\u003e issue presents a special focus on \u003cb\u003ehorror\u003c\/b\u003e, with coverage of \u003cb\u003e\u003ci\u003eWidow’s Bay\u003c\/i\u003e\u003c\/b\u003e,\u003cb\u003e \u003ci\u003eVictorian Psycho\u003c\/i\u003e\u003c\/b\u003e, \u003cb\u003e\u003ci\u003eTeenage Sex and Death at Camp Miasma\u003c\/i\u003e\u003c\/b\u003e, and \u003cb\u003e\u003ci\u003eOnslaught\u003c\/i\u003e\u003c\/b\u003e — as well as a look at \u003cb\u003eStEM3 for Virtual Production\u003c\/b\u003e and a dialogue about the collaboration between \u003cb\u003ecinematographers \u003c\/b\u003eand\u003cb\u003e makeup artists\u003c\/b\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpFirst\"\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif; mso-bidi-font-style: italic;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\" style=\"text-indent: -.25in; mso-list: l0 level1 lfo1;\"\u003e\u003c!-- [if !supportLists]--\u003e\u003cspan style=\"font-size: 18.0pt; font-family: Symbol; mso-fareast-font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-style: italic;\"\u003e\u003cspan style=\"mso-list: Ignore;\"\u003e·\u003cspan style=\"font: 7.0pt 'Times New Roman';\"\u003e       \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c!--[endif]--\u003e\u003cb\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif; mso-bidi-font-style: italic;\"\u003ePresident’s Desk:\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif; mso-bidi-font-style: italic;\"\u003e Reflecting on the many questions he receives about AI, \u003cb\u003eShelly Johnson, ASC \u003c\/b\u003ediscusses the role cinematographers’ passion plays in the creation of memorable images.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif; mso-bidi-font-style: italic;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\" style=\"text-indent: -.25in; mso-list: l0 level1 lfo1;\"\u003e\u003c!-- [if !supportLists]--\u003e\u003cspan style=\"font-size: 18.0pt; font-family: Symbol; mso-fareast-font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-style: italic;\"\u003e\u003cspan style=\"mso-list: Ignore;\"\u003e·\u003cspan style=\"font: 7.0pt 'Times New Roman';\"\u003e       \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c!--[endif]--\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif; mso-bidi-font-style: italic;\"\u003eCinematographers \u003cb\u003eChristian Sprenger, ASC \u003c\/b\u003eand \u003cb\u003eCody Jacobs \u003c\/b\u003ediscuss their work on the series \u003c\/span\u003e\u003cb\u003e\u003ci style=\"mso-bidi-font-style: normal;\"\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif;\"\u003eWidow’s Bay\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif; mso-bidi-font-style: italic;\"\u003e, and Sprenger explains how the ASC Todd-AO 65 lenses helped shape the look of a key, Emmy-winning episode.\u003cb\u003e \u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif; mso-bidi-font-style: italic;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpLast\" style=\"text-indent: -.25in; mso-list: l0 level1 lfo1;\"\u003e\u003c!-- [if !supportLists]--\u003e\u003cspan style=\"font-size: 18.0pt; font-family: Symbol; mso-fareast-font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-style: italic;\"\u003e\u003cspan style=\"mso-list: Ignore;\"\u003e·\u003cspan style=\"font: 7.0pt 'Times New Roman';\"\u003e       \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c!--[endif]--\u003e\u003cb\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif; mso-bidi-font-style: italic;\"\u003eNico Aguilar, AMC \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif; mso-bidi-font-style: italic;\"\u003edetails how he embraced DIY methods for \u003c\/span\u003e\u003cb\u003e\u003ci style=\"mso-bidi-font-style: normal;\"\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif;\"\u003eVictorian Psycho\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif; mso-bidi-font-style: italic;\"\u003e, directed by Zachary Wigon.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif; mso-bidi-font-style: italic;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraph\" style=\"text-indent: -.25in; mso-list: l0 level1 lfo1;\"\u003e\u003c!-- [if !supportLists]--\u003e\u003cspan style=\"font-size: 18.0pt; font-family: Symbol; mso-fareast-font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-weight: bold;\"\u003e\u003cspan style=\"mso-list: Ignore;\"\u003e·\u003cspan style=\"font: 7.0pt 'Times New Roman';\"\u003e       \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c!--[endif]--\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif;\"\u003eCinematographer \u003cb\u003eEric Yue \u003c\/b\u003eand director \u003cb\u003eJane Schoenbrun \u003c\/b\u003ediscuss their collaboration on \u003cb\u003e\u003ci\u003eTeenage Sex and Death at Camp Miasma\u003c\/i\u003e\u003c\/b\u003e. \u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif;\"\u003e \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpFirst\" style=\"text-indent: -.25in; mso-list: l0 level1 lfo1;\"\u003e\u003c!-- [if !supportLists]--\u003e\u003cspan style=\"font-size: 18.0pt; font-family: Symbol; mso-fareast-font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-weight: bold;\"\u003e\u003cspan style=\"mso-list: Ignore;\"\u003e·\u003cspan style=\"font: 7.0pt 'Times New Roman';\"\u003e       \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c!--[endif]--\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif;\"\u003eDirector of photography \u003cb\u003eOren Soffer \u003c\/b\u003ebreaks down his approach to the action-packed sci-fi horror feature \u003cb\u003e\u003ci\u003eOnslaught\u003c\/i\u003e\u003c\/b\u003e, directed by Adam Wingard. \u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif;\"\u003e \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\" style=\"text-indent: -.25in; mso-list: l0 level1 lfo1;\"\u003e\u003c!-- [if !supportLists]--\u003e\u003cspan style=\"font-size: 18.0pt; font-family: Symbol; mso-fareast-font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-weight: bold;\"\u003e\u003cspan style=\"mso-list: Ignore;\"\u003e·\u003cspan style=\"font: 7.0pt 'Times New Roman';\"\u003e       \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c!--[endif]--\u003e\u003ci\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif;\"\u003eAC \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif;\"\u003ereports on \u003cb\u003eStEM3 for Virtual Production\u003c\/b\u003e, a collection of digital assets created and recently released by the ASC to help filmmakers evaluate LED volumes.\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif;\"\u003e \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\" style=\"text-indent: -.25in; mso-list: l0 level1 lfo1;\"\u003e\u003c!-- [if !supportLists]--\u003e\u003cspan style=\"font-size: 18.0pt; font-family: Symbol; mso-fareast-font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-weight: bold;\"\u003e\u003cspan style=\"mso-list: Ignore;\"\u003e·\u003cspan style=\"font: 7.0pt 'Times New Roman';\"\u003e       \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c!--[endif]--\u003e\u003cb\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif;\"\u003ePicture Partners: \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif;\"\u003eFrequent collaborators \u003cb\u003eDan Mindel, ASC, BSC, SASC \u003c\/b\u003eand makeup artist \u003cb\u003eBill Corso \u003c\/b\u003ediscuss the importance of testing.\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpMiddle\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif;\"\u003e \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpLast\" style=\"text-indent: -.25in; mso-list: l0 level1 lfo1;\"\u003e\u003c!-- [if !supportLists]--\u003e\u003cspan style=\"font-size: 18.0pt; font-family: Symbol; mso-fareast-font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-weight: bold;\"\u003e\u003cspan style=\"mso-list: Ignore;\"\u003e·\u003cspan style=\"font: 7.0pt 'Times New Roman';\"\u003e       \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c!--[endif]--\u003e\u003cb\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif;\"\u003eIn Memoriam: \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif;\"\u003eRichard M. Rawlings Jr., ASC\u003cb\u003e\u003c\/b\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoNormal\"\u003e\u003cb\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif;\"\u003e \u003c\/span\u003e\u003c\/b\u003e\u003c\/p\u003e\n\u003cp class=\"p1\" style=\"margin-left: .5in; text-indent: -.25in; mso-list: l0 level1 lfo1;\"\u003e\u003c!-- [if !supportLists]--\u003e\u003cspan style=\"font-size: 18.0pt; font-family: Symbol; mso-fareast-font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-style: italic;\"\u003e\u003cspan style=\"mso-list: Ignore;\"\u003e·\u003cspan style=\"font: 7.0pt 'Times New Roman';\"\u003e       \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c!--[endif]--\u003e\u003cb\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif;\"\u003eClubhouse News:\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif;\"\u003e The latest bulletins from the Society feature a salute to the \u003cb\u003e2026 \u003ci\u003eAmerican Cinematographer \u003c\/i\u003eRising Stars of Cinematography\u003c\/b\u003e; a Television Academy honor for \u003cb\u003eDonald A. Morgan, ASC\u003c\/b\u003e; Society participation in the 23rd \u003cb\u003eGolden Apricot International Film Festival\u003c\/b\u003e; and an \u003ci\u003eAC \u003c\/i\u003eScreening Series presentation of \u003cb\u003e\u003ci\u003eJosephine\u003c\/i\u003e\u003c\/b\u003e\u003ci\u003e \u003c\/i\u003eat UTA, featuring a Q\u0026amp;A with cinematographer \u003cb\u003eGreta Zozula\u003c\/b\u003e. \u003cspan style=\"mso-bidi-font-style: italic;\"\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpFirst\"\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif; mso-bidi-theme-font: minor-bidi;\"\u003e \u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpLast\" style=\"text-indent: -.25in; mso-list: l0 level1 lfo1;\"\u003e\u003c!-- [if !supportLists]--\u003e\u003cspan style=\"font-size: 18.0pt; font-family: Symbol; mso-fareast-font-family: Symbol; mso-bidi-font-family: Symbol; mso-bidi-font-weight: bold; mso-bidi-font-style: italic;\"\u003e\u003cspan style=\"mso-list: Ignore;\"\u003e·\u003cspan style=\"font: 7.0pt 'Times New Roman';\"\u003e       \u003c\/span\u003e\u003c\/span\u003e\u003c\/span\u003e\u003c!--[endif]--\u003e\u003cb style=\"mso-bidi-font-weight: normal;\"\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif; mso-bidi-font-style: italic;\"\u003eWrap Shot:\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif; mso-bidi-font-weight: bold; mso-bidi-font-style: italic;\"\u003e \u003c\/span\u003e\u003cb style=\"mso-bidi-font-weight: normal;\"\u003e\u003ci style=\"mso-bidi-font-style: normal;\"\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif;\"\u003eThe Devils\u003c\/span\u003e\u003c\/i\u003e\u003c\/b\u003e\u003ci style=\"mso-bidi-font-style: normal;\"\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif; mso-bidi-font-weight: bold;\"\u003e \u003c\/span\u003e\u003c\/i\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif; mso-bidi-font-weight: bold; mso-bidi-font-style: italic;\"\u003e(1971), shot by \u003c\/span\u003e\u003cb style=\"mso-bidi-font-weight: normal;\"\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif; mso-bidi-font-style: italic;\"\u003eDavid Watkin, BSC \u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif; mso-bidi-font-weight: bold; mso-bidi-font-style: italic;\"\u003eand directed by \u003c\/span\u003e\u003cb style=\"mso-bidi-font-weight: normal;\"\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif; mso-bidi-font-style: italic;\"\u003eKen Russell\u003c\/span\u003e\u003c\/b\u003e\u003cspan style=\"font-size: 18.0pt; font-family: 'Times New Roman',serif; mso-bidi-font-weight: bold; mso-bidi-font-style: italic;\"\u003e.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp class=\"MsoListParagraphCxSpLast\" style=\"margin-left: 0in; mso-add-space: auto; text-indent: -.25in; mso-list: l0 level1 lfo1;\"\u003e \u003c\/p\u003e","brand":"ASC PUBLICATIONS","offers":[{"title":"Default Title","offer_id":67087441625329,"sku":"2026-10","price":6.95,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0321\/4091\/8921\/files\/AC_October_2026_Issue_-_Cover.png?v=1790369818","url":"https:\/\/store.ascmag.com\/products\/september-2026-american-cinematographer-copy","provider":"ASC\/AC Store","version":"1.0","type":"link"}