Cynthia Pusheck, ASC, a pioneering cinematographer and advocate for inclusivity in the film industry, is the recipient of the American Society of Cinematographers’ (ASC) Presidents Award. The announcement, made during a recent Board of Governors meeting, recognizes Pusheck’s extraordinary dedication and service to both the organization and the broader cinematography community.
Pusheck, known for her work on series like Revenge and CSI: Miami, was reportedly surprised by the honor. “There was this funny moment,” she recalled, “where a couple people started turning to me.” It was then she realized she was being considered for the award, a recognition she described as both “honored” and “a bit intimidated,” admitting she doesn’t particularly enjoy being the center of attention.
Her contributions extend far beyond her work behind the camera. Pusheck served as the first woman elected Vice President of the ASC and is a co-chair of the ASC Vision Committee, established in 2016. The committee’s mission is to support underrepresented cinematographers and filmmakers, aiming to foster a more inclusive entertainment industry.
Pusheck’s journey to becoming a cinematographer began unexpectedly. Growing up in Rockford, Illinois, she initially enrolled in visual arts at Columbia College Chicago in the mid-1980s, taking a “Film 101” course on a whim. “It seemed like everyone in the class had been born with a camera in their hand,” she remembers, “I knew nothing, but I was immediately hooked and soon gravitated to the camera and cinematography courses.”
Early experiences in Chicago proved challenging. Opportunities for female camera assistants were scarce. “One producer told me that they’d hire a woman if all the guys in town were booked,” Pusheck recounted, highlighting the prevalent bias at the time. She persevered, working as a second assistant, but found herself questioning the path forward during a particularly tedious shoot.
A pivotal moment came while working as a second assistant on the set of Field of Dreams, shot by John Lindley, ASC. Despite feeling inexperienced – admitting she didn’t even know how to properly slate – the experience solidified her desire to pursue a career in cinematography.
In 1989, Pusheck moved to Los Angeles, where she found a more welcoming environment. While still male-dominated, the L.A. Camera crews were more open to including women. She found consistent work, balancing it with a passion for travel, trekking in Nepal and exploring Europe.
Pusheck steadily climbed the ranks, working as a first assistant and building her reel through documentaries, short films, and student projects. A key opportunity arose when Robert Primes, ASC, brought her onto the crew of the made-for-television movie My Antonia. Primes recalls hiring her not to fulfill a diversity quota, but because she was “damn good” and possessed a unique talent. He vividly remembers her demonstrating her physical strength and determination while maneuvering a heavy camera up a steep hill, dispelling any doubts about her ability to handle the demands of the job.
Underwater cinematographer Pete Romano, ASC, also recognized Pusheck’s work ethic and aptitude. He described her as a “damn hard worker” who was eager to learn the intricacies of underwater cinematography, including the specialized lens calibration required for shooting beneath the surface. Romano recounted a particularly memorable experience during the filming of the opening sequence for Saving Private Ryan, where both he and Pusheck were hit by exploding squibs while operating the camera underwater.
Pusheck transitioned to operating, landing gigs on projects like Biker Boyz and eventually securing a steady position on CSI: Miami. Working alongside cinematographers like Dermott Downs, Thomas Yatsko, ASC, and Eagle Egilsson, ASC, she honed her skills and gained valuable experience. Egilsson praised Pusheck’s solution-oriented approach, creativity, and collaborative spirit, noting her ability to remain calm and focused under pressure.
Her opportunity to step into the role of Director of Photography came with Season 4 of CSI: Miami, a chance Egilsson championed despite initial resistance from producers. He confidently asserted that Pusheck would deliver exceptional work, and she did. She later found fulfillment in Amazon’s Good Girls Revolt, a series set in the 1960s that resonated with her due to its focus on women in the workplace.
Pusheck’s induction into the ASC in 2013 marked a significant milestone, as she joined a relatively small number of women in the Society. She immediately sought ways to contribute, participating in committee discussions and eventually serving on the Board of Governors.
Her work with the Vision Committee has been particularly impactful. Launched in 2015, the committee aims to address systemic barriers faced by underrepresented filmmakers. Pusheck and co-chair John Simmons have organized numerous outreach events, including workshops and masterclasses, providing opportunities for aspiring cinematographers from diverse backgrounds to learn from industry professionals and gain access to valuable resources. One such event, in partnership with the Heart and Soul Center in South Central L.A., offered training in lighting and LED wall technology.
Pusheck emphasizes the importance of increasing representation within the industry, noting that the landscape has changed dramatically in recent years. She acknowledges the challenges facing aspiring filmmakers, including the increasing competitiveness of the field and the need to navigate a rapidly evolving industry. She also highlights the importance of mentorship and support, recognizing the long history of women who faced obstacles in pursuing their careers.
“I used to say that in the early ’90s, there were so few of us [women] in camera that it felt like we were all bobbing along out in an ocean, on our own little rafts,” Pusheck observed. “You can’t really help and support each other much when you’re just figuring out how to stay afloat! It takes time to build the numbers of underrepresented filmmakers, which has happened so much faster in the last decade than ever before!”
