written by David E. Williams, American Society of Cinematographers
Born in Chicago, Tari Segal was immersed in the city’s jazz scene from an early age. Surrounded by great artists such as Dizzy Gillespie, who frequented her father Joe’s legendary club The Jazz Showcase, founded in 1947, she was drawn to the expressive, improvisational elements and style of the music, which have inspired her camerawork.
She became a film fan in part due to her father, with whom she frequently watched movies, and the sci-fi adventure The Abyss — shot by Mikael Salomon, ASC — was “one of our favorites. I’m not sure if the movie had a strong impression on me or the act of watching it with my dad made it a lasting memory.”
Segal had a camera in her hands at an early age, as her family encouraged her growing interest in photography at every turn: “I recall my mom saying how much she wished she had more pictures of her childhood. I think documenting is very important.”
She later studied at Columbia College Chicago, majoring in film with a concentration in cinematography. “Columbia is an excellent school for cinematographers because they provide you with such invaluable technical knowledge as well as an appreciation for story and art over beauty. It helped instill in me a greater love for telling stories through the lens.” She credits instructor Robert Buchar for introducing her to independent cinema, most notably, the films of the French New Wave.
After graduation, Segal relocated to Los Angeles, where, with the help of Buchar, she secured a camera-department internship on the Oscar-winning drama Sideways, shot by Phedon Papamichael, ASC — who became her long-term mentor. Soon after, she began building her own career as a director of photography, working as a gaffer and camera operator while shooting numerous shorts, music videos, and then indie features and TV series. Along that path, another inspiration was Lisa Wiegand, ASC, with whom Segal worked on the series Chicago Fire and Chicago Justice.
Other ASC members are also among her inspirations. “Vittorio Storaro’s use of color and light was something I studied a lot and I was incredibly moved when I watched The Last Emperor,” she says. “I’m also a huge fan of Harris Savides’ work, which is so bold and original. Roger Deakins’ ability to create an elegant, cinematic language for every world he shoots just blows me away.”
Her ASC membership, Segal says, “has given me the gift of camaraderie. I feel so fortunate to be in the company of so many inspiring cinematographers and to have the opportunity to socialize and share ideas and common interests. This is a challenging career to navigate, and the ASC is a place that understands that and supports the artistry and craft that has driven me for so much of my life.”
Segal recently wrapped Season 1 of the crime drama Long Bright River, a limited series for Peacock based on the book by Liz Moore.
