When I was asked to write this, I had the chance to view behind the scenes footage of the films that Iremember fondly from my childhood days, and frankly, it has been quite the learning experience.Looking at a period where the infinite possibilities that today’s modern post-production offers wasnon-existent from the current day where digital technology rules the film industry and paves theway for conformism in filmmaking from time to time, reminded me and made me think of whatit means to create visual atmosphere on set, how creativity can flourish in the absence of means,how to create something out of nothing, that it’s possible to make a lot with little, and the essence ofcinematography.I realized that sometimes we get stuck in such a fixed point of view by depending on the luxuryprovided by technology. Seeing the different results that can be obtained by limited means and how theissue of camera movements that we deal through intricate preparations today were resolved in such asimple practicality back then provided a “reset” for me.This gave me an opportunity to rediscover a prominent cinematographer with such a long career whohas worked in 127 films with masters like Halit Refiğ, Memduh Ün, and Metin Erksan – who were myprofessors at Mimar Sinan University Film & TV Department – and Atıf Yılmaz who was an integralpart of my life. -Emre Erkmen