Cynthia Pusheck, ASC, a prominent figure in the cinematography community, is making waves with her vision for inclusivity and outreach within the American Society of Cinematographers (ASC). During a recent Board of Governors meeting, Pusheck found herself being considered for the prestigious Presidents Award, a recognition awarded to members demonstrating extraordinary dedication to the ASC and its mission. Pusheck shared her feelings about this moment, expressing both honor and intimidation at the prospect of being in the spotlight.
As a member of the ASC Board of Governors and the first woman to serve as vice president, Pusheck’s commitment to the organization and its members is evident. Since joining the ASC in 2013, she has actively sought ways to contribute, recognizing the importance of member engagement in sustaining the society. “I realized that this society depends on the time and contributions of so many of our members, and I wanted to find out how I could do my part as well,” she said.
Raised in Rockford, Illinois, Pusheck’s journey into cinematography began unexpectedly. Even as studying visual arts at Columbia College Chicago in the mid-1980s, she enrolled in a basic film course that ignited her passion for the craft. “It seemed like everyone in the class had been born with a camera in their hand. I knew nothing, but I was immediately hooked,” she recalled. After graduating, she faced challenges finding work as a camera assistant, particularly as a woman in a male-dominated industry, but she persevered, taking on roles that would eventually lead her to success.
Choreographing a camera move for the 18-century pirate series ‘Our Flag Means Death.’ (Photo courtesy of HBO Max.)
In 1989, Pusheck moved to Los Angeles, where she found more opportunities in the industry, despite the continued gender disparity in camera crews. Her first job on “PeeWee’s Playhouse” was a turning point, providing her a fun and engaging introduction to Hollywood. Over the years, she honed her skills, transitioning from a camera assistant to operating and eventually becoming a director of photography. Her dedication and talent led to significant projects, including her role as a camera operator on the critically acclaimed series “CSI: Miami.”
Breaking Barriers in Cinematography
Pusheck’s career has been marked by a series of groundbreaking achievements. She worked on notable productions like the Emmy-winning “My Antonia,” where she became the first B camera assistant among a predominantly female team. Her determination was evident even early in her career, as she tackled the physical demands of the job with grace and skill.
Robert Primes, ASC, who hired Pusheck for “My Antonia,” praised her for her exceptional talent and adventurous spirit. “Cynthia had been around the world. she was a real adventurer,” he noted. This adventurous spirit propelled her to work with underwater cinematographer Pete Romano, ASC, where she demonstrated her prowess in challenging conditions, including the opening sequence of “Saving Private Ryan.”
At sea with a HydroFlex underwater camera housing.
Advocating for Inclusivity
Pusheck’s commitment to inclusivity in the film industry is exemplified through her role as co-chair of the ASC Vision Committee, which aims to create opportunities for underrepresented filmmakers. Initiated in 2015, the committee has organized various outreach events aimed at diversifying the cinematography community. One highlight was the Women’s Day event at the ASC Clubhouse, which brought together a large group of women in the industry.
The success of these events has been remarkable. “Every time we’ve done an event, there’s been an incredible sense that we’ve touched people,” Pusheck shared. Participants often exit feeling excited and energized, underscoring the impact of collective support.
Pusheck (far right) speaking on a panel at the ASC Clubhouse with fellow members.
In her advocacy, Pusheck emphasizes the importance of building a supportive network for women and other underrepresented groups in film. “You can’t really help and support each other much when you’re just figuring out how to stay afloat!” she observed, reflecting on her early experiences as one of the few women in the industry. Her insights resonate with many aspiring cinematographers who face similar challenges today.
The Future of Cinematography
As the landscape of cinematography continues to evolve, Pusheck remains optimistic yet realistic about the challenges ahead. She recognizes the competitive nature of the industry and the need for resilience among newcomers. “It’s a very daunting time,” she noted, pointing out the increasing number of cinematographers entering the field directly from film schools.
Despite the hurdles, Pusheck remains passionate about storytelling through visual media. Her work on series like “Revenge” and “Good Girls Revolt” reflects her ability to infuse personal style into projects while also adhering to established visual narratives.
Lining up a shot on the set of ‘Good Girls Revolt.’ (Photo by Jennifer Clasen.)
Pusheck’s journey is a testament to her dedication and resilience in a competitive industry. As she continues to mentor aspiring cinematographers and advocate for inclusivity, her impact on the community is sure to resonate for years to come.
With her sights set on future projects and initiatives, Cynthia Pusheck exemplifies the spirit of collaboration and advancement in the cinematography world. Her story inspires not only women in film but all who strive to break barriers in their respective fields.
What are your thoughts on the current state of inclusivity in cinematography? Share your comments below and help spark a conversation about the future of our industry!
