American Cinematographer - April 1986 - 92

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Photography

Mitchell B diffusion disk were uti¬
lized
for
subtle
image
enhancement.
Fraker was born into the

photographic field

mother was a skilled
and his father was one of the top
still men at various major studios.
In the late Forties he attended film
school at USC, where he came un¬
der the influence of the great film¬
maker and theorist, Slavko

Vorkapich, and the designer and
montage expert, Peter Ballbusch.
After graduation, Fraker worked
as a

film editor for various televi¬

sion

1985

"Video & Visual Effects

for 2010"
Feb
Mar

1985

' 'Photographing a
Passage to India
1985 "Creating Dinosaurs for
Baby"

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Gothic, he showed his
one of the
finest realistic crime thrillers,

versatility with Bullitt,

which was shot on the streets of
San Francisco. Both of these films
have proved influential upon the

photographic styles of
productions.
ture

on

torial effort, Monte Walsh, with
Lee Marvin, Jeanne Moreau and

Jack Palance, is
ern

As

an

assistant and opera¬

he worked for

many of the
directors of photog¬
raphy - Ellsworth Fredericks on
Friendly Persuasion, John Alton
on Lonelyhearts, Lionel Lindon
and Harold Lipstein on the Ozzie
and Harriet TV series, Ted Mc¬
Cord on the Stony Burke series,

tor,

top

and Conrad Hall

on

The

Profes¬

sionals. In 1967 he got his first fea¬
ture as director of photography,
Universal's Games, which was shot
weeks but won high
marks for its unusual cinematogra¬
in

three

phy. His work for Warners' The
April 1986

numerous

Fraker also directs a fea¬
occasion. His first direc¬

men's local.

HOLLYWOOD, CA 90078
Please allow

put Fraker in the front rank of pic¬
torial stylists. After this exercise in

production companies before
being admitted to the camera¬

for Gremlins
Jan

his grand¬
photographer
-

Fox The President's Analyst and
Fade In also attracted attention,
but it was Rosemary's Baby, that

an

excellent West¬

which has become

a

film soci¬

ety favorite. Reflections of Fear, a
thriller with the late Robert Shaw
and Sally Kellerman, and The Leg¬

end of the Lone Ranger are other
Fraker-directed films. His ver¬

satility

as a

cinematographer is evi¬

dent in his credits, which include
Paint Your Wagon, Looking for
Mr.

Goodbar, Heaven Can Wait,
(for which he also pho¬

1941

tographed the amazing miniature
work), The Best Little Whorehouse
in Texas, War Games, and Irrec¬
oncilable Differences.
A
American Cinematographer - April 1986

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