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All classically trained composers (of course, not all composers are "classically trained") can do orchestration, so if they don't actually do it, it's more often time constraints and other practical considerations that prevent them from doing so.
Basically, composers like Jerry Goldsmith or John Williams did all their orchestration too. Yeah, I know they had Herb Spencer, Arthur Morten and Alexander Courage, but usually, they just fleshed out the detailed sketches, they did not decide on instrumentation or any other aspect. (With some notable exceptions, of course; as Goldsmith mentioning Morton's contribution on some of the choral parts for THE OMEN.)
I know Ennio Morricone never uses orchestrators, and Howard Shore or Thomas Newman usually do their own orchestration and conduct their scores as well.
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Howard Shore is who immediately came to mind for me, though occasionally he has used orchestrators, like on Hobbit 2 & 3. (But all LotR and Hobbit 1 were orchestrated by him alone).
Yavar
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Well, "orchestrating" is a fluid term, and varies from composer to composer.
As others mentioned above, there are composers who work with orchestrators, but they write sketches with complete "shorthand" instructions, in which case the orchestrator is essentially a secretary / proofreader / copyist. Their role is merely to save the composer time (which is precious when facing the kind of schedules imposed by a film production). Even Aaron Copland used an orchestrator in this way. Mahler also worked this way writing his concert works.
I don't know of any one composer who has "done it all" throughout their whole career. Herrmann prided himself on doing all his own orchestration, but Alexander Courage assisted him on North By Northwest (while Andre Previn wrote some source music for one scene). On Taxi Driver, Christopher Palmer did a good deal or arranging (owing to Herrmann's health and inexperience in jazz).
John Scott has rarely worked with an orchestrator, though he employed John Fiddy on White Water Summer (presumable because time was short -- sadly the score was not used).
Morricone also writes in full score, but enlisted one of his children as co-composer on Cinema Paradiso, so he didn't do everything himself all the time either.
Rachel Portman does all her own orchestrating -- but does not conduct.
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Again, if it's a classically trained composer, they know orchestration, they just don't always have the time to do it themselves. Sketches by composers like Jerry Goldsmith were more like LEGO assembly instructions: it's layed out for the orchestrator what goes where, he just has to "put the bricks together". Not much room for interpretation.
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It's also worth pointing out that when Jerry Goldsmith began (early TV as well as his early scores for low budget films), he was doing 100% of his own orchestration, no one even "putting the bricks together" in the way he instructed. I wonder actually what the first time was that he used an orchestrator...
Yavar
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I'm not even in the same universe as the composers mentioned, but I do it all myself.
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Morricone he a phoney
Let others do the work
But he take all de money
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I understood the question more along the lines of "film composers that do it all", so those who not only compose their music, but also orchestrate and conduct it. Of course, hardly any film composer does ALL of it ALL the time. Bruno Nicolai collaborated with Morricone, Conrad Pope conducted parts 2 & 3 of Shore's music for THE HOBBIT. Bernard Herrmann co-composed with Alfred Newman, and so on. Just about every film composer of rank has worked and works at times with other composers, orchestrators, conductors, etc.
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I'm not even in the same universe as the composers mentioned, but I do it all myself.
Me too. 
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I'm not even in the same universe as the composers mentioned, but I do it all myself.
Me too.
All but the conducting (which I probably should have mentioned earlier); the arranging, composition, orchestration, performance notes, keeping on certain instrumentalists about the way I want the music played...all me.
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