Cinematographers2 PDF

Interesting List of Cinematographers
10 > Billy Bitzer
https://en.wikipedia.org/wiki/Billy_Bitzer
9 > Gregg Toland
https://en.wikipedia.org/wiki/Gregg_Toland
8 > Robert Burks
https://en.wikipedia.org/wiki/Robert_Burks
7 > Freddie Young
https://en.wikipedia.org/wiki/Freddie_Young
6 > Vittorio Storaro
https://en.wikipedia.org/wiki/Vittorio_Storaro
5 > Sven Nykvist
https://en.wikipedia.org/wiki/Sven_Nykvist
4 > Kazuo Miyagawa
https://en.wikipedia.org/wiki/Kazuo_Miyagawa
3 > Janusz Kamiński
https://en.wikipedia.org/wiki/Janusz_Kami%C5%84ski
2 > Maryse Alberti
https://en.wikipedia.org/wiki/Maryse_Alberti
1 > Roger Deakins
https://en.wikipedia.org/wiki/Roger_Deakins
Gottfried Wilhelm "Billy" Bitzer (April 21, 1872 – April 29, 1944) was
Billy Bitzer
a pioneering American cinematographer notable for his close association
with D. W. Griffith.
Biography
Selected filmography
References
Further reading
External links
Prior to his career as a cameraman, working as a motion picture

projectionist,[1] Bitzer developed early cinematic technologies for the Bitzer seated at movie projector
American Mutoscope Company, eventually to become the Biograph Born Gottfried Wilhelm Bitzer
Company. He admired and learned the art of motion picture photography April 21, 1872
from Kinetoscope inventor W.K.L. Dickson, who directed the early Roxbury, Boston,
Biograph shorts on which Bitzer cut his teeth. Until 1903, Bitzer was Massachusetts
employed by Biograph primarily as a documentary photographer, and Died April 29, 1944 (aged 70)
from 1903 onward primarily as the photographer of narrative films, as Hollywood, California
these gained popularity. (Hendricks 1964, pp. 5)
Occupation Cinematographer
In 1908 Bitzer entered into his first collaboration with Griffith. The two
would work together for the rest of Bitzer's career, leaving Biograph in 1913 for the Mutual Film Corporation where
Bitzer continued to innovate, perfecting existing technologies and inventing new ones. During this time he pioneered
the field of matte photography and made use of innovative lighting techniques, closeups, and iris shots.
Bitzer provided assistance during Griffith's directorial debut, 1908's The Adventures of Dollie, which was shot by
Arthur Marvin. He eventually succeeded Marvin as Griffith's regular cinematographer, working with him on some of
his most important films and contributing significantly to cinematic innovations attributed to Griffith. In 1910, he
photographed Griffith's silent short, In Old California, in the Los Angeles village of "Hollywoodland", qualifying Bitzer
as, arguably, Hollywood's first Director of Photography. The apex of Bitzer and Griffith's collaboration came with The
Birth of a Nation (1915), a film funded in part by Bitzer's life savings, and the epic Intolerance (1916).
For all his innovation, Bitzer did not survive the industry's transition to sound, and in 1944 he suffered a heart attack
and died in Hollywood in relative obscurity.
His autobiography, Billy Bitzer: His Story, was published posthumously in 1973.
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In 2003, a survey conducted by the International Cinematographers Guild named him one of the ten most influential
cinematographers in history.[2] Bitzer, it is said, "developed camera techniques that set the standard for all future
motion pictures."[3] Among Bitzer's innovations were
the fade out to close a movie scene;

the iris shot where a circle closes to close a scene;
soft focus photography with the aid of a light diffusion screen;
filming entirely under artificial lighting rather than outside;
lighting, closeups and long shots to create mood;
perfection of matte photography.
2 A. M. in the Subway (1905)

The Lonely Villa (1909)
The Sealed Room (1909)
Edgar Allan Poe (1909)
A Corner in Wheat (1909)
In the Border States (1910)
The Lonedale Operator (1911)
Enoch Arden (1911)
The Girl and Her Trust (1912)
The Female of the Species (1912)
A Beast at Bay (1912)
An Unseen Enemy (1912)
The Painted Lady (1912) Edgar Allan Poe (1909), a silent movie by D.W. Griffith (director),
The Musketeers of Pig Alley (1912) Frank E. Woods (screenwriter) and Billy Bitzer (camera), inspired
The House of Darkness (1913) by Poe's poem The Raven.
Death's Marathon (1913)
The Mothering Heart (1913)
The Battle at Elderbush Gulch (1914)
Judith of Bethulia (1914)
The Avenging Conscience (1914)
The Birth of a Nation (1915)
Intolerance (1916)
Hearts of the World (1918)
The Great Love (1918)
The Greatest Thing in Life (1918)
A Romance of Happy Valley (1919)
The Girl Who Stayed at Home (1919)
True Heart Susie (1919)
Scarlet Days (1919)
Broken Blossoms (1919)
The Greatest Question (1919)
The Idol Dancer (1920)
The Love Flower (1920)
Way Down East (1920)
The White Rose (1923)
America (1924)
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Drums of Love (1927)
The Battle of the Sexes (1928)
Lady of the Pavements (1929)
1. Musser, Charles, The Emergence of

Cinema, Publisher: University of
California Press; 1st Paperback Edition
edition (May 4, 1994) Language: English
ISBN 978-0520085336
2. "Top 10 Most Influential
Cinematographers Voted on by Camera
Guild," October 16, 2003.
(http://www.thefreelibrary.com
Cameraman G. W. "Billy" Bitzer and director D. W. Griffith on

location in the snow filming Way Down East (Griffith, 1920). Bitzer
stands behind a Pathé camera.
/Top+10+Most+Influential+Cinematographers+Voted+on+by+Camera+Guild.-a0108995062) Retrieved January 28,

2011.
3. Encyclopædia Britannica, Micropædia, Vol. II, p51
Hendricks, Gordon (1964), Beginnings of the Biograph, New York, New York: Theodore Gaus' sons.
G. W. (Billy) Bitzer, Billy Bitzer: His Story (Farrar, Straus, and Giroux, 1973), ISBN 978-0-374-11294-3
G.W. Bitzer (https://www.imdb.com/name/nm0005658/) on IMDb
Retrieved from "https://en.wikipedia.org/w/index.php?title=Billy_Bitzer&oldid=818802888"
This page was last edited on 5 January 2018, at 17:43 (UTC).
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Gregg Toland - Wikipedia https://en.wikipedia.org/wiki/Gregg_Toland
Gregg Toland
Gregg Toland, A.S.C. (May 29, 1904 – September 28, 1948) was an
Gregg Toland
American cinematographer known for his innovative use of techniques such
as deep focus, examples of which can be found in his work on Orson Welles'
Citizen Kane (1941), William Wyler's The Best Years of Our Lives (1946),
and John Ford's The Long Voyage Home (1940). Toland was voted as one
of the top 10 (actually 11 with a tie) most influential cinematographers in
the history of films by the International Cinematographers Guild in 2003.
[1][2]
Contents
Career
Contributions on Citizen Kane
Innov ations in The Long Voyage Home (1940) and Citizen Kane
(1941) Gregg Toland in 1947
Deep focus technique and lighting schemes Born Gregg Wesley
Optical print shots and in-camera composites on Citizen Kane Toland
Similarities betw een Citizen Kane and The Long Voyage Home May 29, 1904
Charleston, Illinois
Other important w orks
Serv ice during World War II Die d September 28,
1948 (aged 44)
Media
Los Angeles,
Academy Aw ard nominations
Calif ornia
Filmography
Nationality American
Legacy
References
External links Ye ars active 1926–1948
Know n for Innovative use of
lighting and
Career techniques such
as deep f ocus
Toland was born in Charleston, Illinois on May 29, 1904 to Jennie, a
housekeeper, and Frank Toland. His mother moved to California several Notable w ork The Best Years of
years after his parents divorced in 1910. Our Lives
Citizen Kane
He first demonstrated his chiaroscuro, side-lit style on the short film The The Grapes of
Life and Death of 9413: a Hollywood Extra (1928), on which one of the two Wrath
400W bulbs they had available burned out, leaving only a single bulb to The Long Voyage
light with. Home
Wuthering
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During the 1930s, Toland became the youngest cameraman in Hollywood Heights
but soon one of its most sought-after cinematographers. Over a seven-year Helen Barclay
Spous e (s )
span (1936–1942), he was nominated five times for the Academy Award for (m. 1934;
Best Cinematography, including an Academy Award for his work on div. 1945)
Wuthering Heights (1939). He worked with many of the leading directors Virginia Thorpe
(m. 1945; his
of his era, including John Ford, Howard Hawks, Erich von Stroheim, King
death 1948)
Vidor, Orson Welles, and William Wyler.
Childre n 3
Just before his death, he was concentrating on the "ultimate focus" lens,
which makes both near and far objects equally distinct. "Just before he died he had worked out a new lens with which
he had made spectacular shots. He carried in his wallet a strip of film taken with this lens, of which he was very proud.
It was a shot of a face three inches from the lens, filling one-third of the left side of the frame. Three feet from the lens,
in the center of the foreground, was another face, and then, over a hundred yards away was the rear wall of the studio,
showing telephone wires and architectural details. Everything was in focus, from three inches to infinity". [3]
He died in his sleep, in Los Angeles, California on September 28, 1948 of coronary thrombosis at age 44. He is interred
in the Hollywood Forever Cemetery in Hollywood, California.[4]
Contributions on Citizen Kane

Some film historians believe Citizen Kane's visual brilliance was due
primarily to the contributions of Toland, rather than director Orson Welles.
However, many Welles scholars maintain that the visual style of Kane is
similar to many of Welles's other films, and hence should be considered the
director's work. Nevertheless, the Welles movies that most resemble Citizen
Kane (The Magnificent Ambersons, The Stranger, and Touch of Evil) were
shot by Toland collaborators Stanley Cortez and Russell Metty (at RKO).
At the time Kane was produced and released, Welles and Toland (among
others) insisted that Welles gave lighting instructions that fall normally Orson Welles and Gregg Toland at
under the director of photography's responsibility. Many of the transitions work on Citizen Kane (1941); the
in the film are done as lighting cues on set (such as the transition at the camera appears to be one of the
opening of the film from the outside of Xanadu into Kane's bedroom for his very few brand-new Mitchell
Camera Corp BNCs which were
death), where lights are dimmed up and down on stage. Apparently, Welles
made before the World War II
was unaware that one could achieve the effects optically on a film so he
embargo on the manufacture of
instructed the crew to dim the lights the way you would on a theater new production cameras
production, which led to the unique dissolves. Different areas of the frame (excepting those intended for the
dissolve at different times, based on the lighting cue. However, the visuals U.S. Army Signal Corps and U.S.
were truly a collaboration, as Toland contributed great amounts of allies).
technical expertise that Welles needed so that he could achieve his vision.
Years later, Welles acknowledged, "Toland was advising him on camera
placement and lighting effects secretly so the young director would not be embarrassed in front of the highly
experienced crew."[5]
Innovations in The Long Voyage Home (1940) and
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Citizen Kane (1941)

Toland's techniques were revolutionary in the art of cinematography. Cinematographers before him used a shallow
depth of field to separate the various planes on the screen, creating an impression of space as well as stressing what
mattered in the frame by leaving the rest (the foreground or background) out of focus.
In Toland's lighting schemes, shadow became a much more compelling tool, both dramatically and pictorially, to
separate the foreground from the background and so to create space within a two-dimensional frame while keeping all
of the picture in focus. According to Toland, this visual style was more comparable with what the eyes see in real life
since vision blurs what is not looked at rather than what is.
For John Ford's The Long Voyage Home (1940), Toland leaned more heavily on back-projection to create his deep
focus compositions, such as the shot of the island women singing to entice the men of the SS Glencairn. He continued
to develop the technologies that would allow for him to create his images in Citizen Kane.
Deep focus technique and lighting schemes

Toland innovated extensively on Citizen Kane, creating deep focus on a sound-stage, collaborating with set designer
Perry Ferguson so ceilings would be visible in the frame by stretching bleached muslin to stand in as a ceiling, allowing
placement of the microphone closer to the action without being seen in frame. He also modified the Mitchell Camera to
allow a wider range of movement, especially from low angles. ″It was Toland who devised a remote-control system for
focusing his camera lens without having to get in the way of the camera operator who would now be free to pan and tilt
the camera."[6]
The main way to achieve deep focus was closing down the aperture, which required increasing the lighting intensity,
lenses with better light transmission, and faster film stock. On Citizen Kane, the cameras and coated lenses used were
of Toland's own design working in conjunction with engineers from Caltech. His lenses were treated with Vard
Opticoat[7] to reduce glare and increase light transmission. He used the Kodak Super XX film stock, which was, at the
time, the fastest film available, with an ASA film speed of 100. Toland had worked closely with a Kodak representative
during the stock's creation before its release in October 1938, and was one of the first cinematographers using it
heavily on set.[8]
Lens apertures employed on most productions were usually within the f/2.3 to f/3.5 range; Toland shot his scenes in
between f/8 and f/16. This was possible because several elements of technology came together at once: the technicolor
three strip process, which required the development of more powerful lights, had been developed and the more
powerful Carbon Arc light was beginning to be used. By utilizing these lights with the faster stock, Toland was able to
achieve apertures previously unattainable on a stage shoot.[9]
Optical print shots and in-camera composites on Citizen

Kane
Gregg Toland collaborated on a number of shots with special-effects cinematographer Linwood G. Dunn. Although
these looked like they were using deep focus, they were actually a composite of two different shots. Some of these shots
were composited with an optical printer, a device which Dunn improved upon over the years, which explains why
foreground and background are both in focus even though the lenses and film stock used in 1941 could not allow for
such depth of field.
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But Toland hated this technique, since he felt he was "duping," (i.e. a copy of a copy) thereby lowering the quality of his
shots. Thus other shots (like the shot of Susan Alexander Kane's bedroom after her suicide attempt, with a glass in the
foreground and Kane entering the room in the background) were in-camera composites, meaning the film was exposed
twice—another technique that Linwood Dunn improved upon.
Similarities between Citizen Kane and The Long Voyage

Home
Toland had already had experience with heavy in-camera compositing, and many of the shots in Kane look similar in
composition and dynamics to a number of shots in John Ford's The Long Voyage Home.
For instance, both movies contain shots that create an artificial lighting situation such that a character is lit in the
background and walks or runs through dark areas to the foreground, where his arrival triggers, off-screen, a light not
on before. The result is so visually dramatic because a character moves, only barely visible, through vast pools of
shadow, only to exit the shadow very close to the camera, where his whole face is suddenly completely lit. This use of
much more shadow than light, soon one of the main techniques of low-key lighting, heavily influenced film noir.
The Long Voyage Home and Citizen Kane share a number of other striking similarities:
Both films allowed lenses at times to distort faces in close-up, especially during low-key lighting sequences
described above.
Sets, both interiors and exteriors, were lit mostly from the floor instead of from the rafters high above. A
radical departure from Hollywood's traditional lighting, this technique also took much longer to execute,
thus contributing significantly to production costs. However, the effect was strikingly more realistic, since light
sources placed closer to the characters allowed softer lighting, which lights placed far above the set could
not produce.
Both directors, Welles as well as Ford, put Toland's credit as cinematographer on screen at the same time as
their own credit as director (director/producer in Welles's case), an unusual and conspicuously generous
tribute; in both films, Toland's credit was also the same size as the director's.
Other important works

Although Citizen Kane is his most well-regarded achievement, his style was much more varied than most people
realize. For The Grapes of Wrath (1940), he took inspiration from Dorothea Lange's photographs, achieving a rare (for
Hollywood) gritty and realist look. For one of his final projects, Toland turned to Technicolor film. Made for Disney,
the 1946 Song of the South combined animation with live action in bright, deeply saturated Technicolor. In The Best
Years of Our Lives his deep focus cinematography served to highlight all the aspects of the characters' lives. [10]
Service during World War II

When the Office of the Coordinator of Information (predecessor to the Office of Strategic Services and later the Central
Intelligence Agency) was created by Franklin Delano Roosevelt before the United States' entry into World War II,
Toland was recruited to work in the agency's film unit.[11] Toland was commissioned as a lieutenant in the Navy's
camera department, which led to his only work as a director, December 7th: The Movie (1943); this documentary of the
attack on Pearl Harbor, which Toland co-directed with John Ford, is so realistic in its restaged footage that many today
mistake it for actual attack footage. This 82-minute film took the Academy Award for Best Documentary (Short
Subject).
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Media
In addition to sharing a title card with Orson Welles on Kane—an indication of the high esteem the director held for his
cameraman—Welles also gave Toland a cameo in the film as the reporter who is slow to ask questions when Kane
returns from Europe.
Toland was the subject of an "Annals of Hollywood" article in The New

Yorker, "The Cameraman," by Hilton Als (June 19, 2006, p. 46).
Academy Award nominations

1935 - Best Cinematography - Les Misérables (came in 2nd)
1937 - Best Cinematography (black and white) - Dead End
1939 - Best Cinematography (black and white) - Wuthering Heights
(w on)
1939 - Best Cinematography (black and white) - Intermezzo: A Love The final ending Title Card for
Story Citizen Kane, placing Toland on
1940 - Best Cinematography (black and white) - The Long Voyage same card as Orson Welles, the
Home Director, because Welles felt he
1941 - Best Cinematography (black and white) - Citizen Kane deserved it; there was only one
1943 - Documentary Short Subject - December 7th: The Movie beginning Title Card, which
(w on)[12] stated, simply, "CITIZEN KANE",
in total silence.
Filmography
The Life and Death of 9413: A Hollywood Extra (1928) co-cinematographer
Queen Kelly (1929) filmed alternate ending directed by Gloria Swanson
The Trespasser (1929) co-cinematographer
Bulldog Drummond (1929) co-cinematographer
This Is Heaven (1929) co-cinematographer
Condemned (1929) co-cinematographer
Raffles (1930) co-cinematographer
Whoopee! (1930) co-cinematographer
The Devil to Pay! (1930) co-cinematographer
Indiscreet (1931) co-cinematographer
One Heavenly Night (1931) co-cinematographer
Street Scene (1931) co-cinematographer
Palmy Days (1931)
The Unholy Garden (1931)
Tonight or Never (1931)
Play-Girl (1932)
Man Wanted (1932)
The Tenderfoot (1932)
The Washington Masquerade (1932)
The Kid from Spain (1932)
The Masquerader (1933)
The Nuisance (1933)
Tugboat Annie (1933)
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Roman Scandals (1933)

Nana (1934)
Lazy River (1934)
We Live Again (1934)
Forsaking All Others (1934)
Les Misérables (1935)
Public Hero No. 1 (1935)
The Dark Angel (1935)
Splendor (1935)
Mad Love (1935)
The Wedding Night (1935)
The Road to Glory (1936)
These Three (1936)
Come and Get It (1936) co-cinematographer
Beloved Enemy (1936)
History Is Made at Night (1937) co-cinematographer
Woman Chases Man (1937)
Dead End (1937)
The Goldwyn Follies (1938)
Kidnapped (1938)
The Cowboy and the Lady (1938)
Intermezzo (1939)
Wuthering Heights (1939)
Raffles (1939)
They Shall Have Music (1939)
The Grapes of Wrath (1940)
The Long Voyage Home (1940)
The Westerner (1940)
The Outlaw (1940, released 1943)
Citizen Kane (1941)
The Little Foxes (1941)
Ball of Fire (1941)
December 7th: The Movie (1943) co-director and cinematographer
The Best Years of Our Lives (1946)
Song of the South (1946)
The Kid from Brooklyn (1946)
The Bishop's Wife (1947)
A Song is Born (1948)
Enchantment (1948)
Legacy
The results of a survey conducted in 2003 by the International Cinematographers Guild placed Toland in the top ten of
history's most influential cinematographers. [13]
The 2006 Los Angeles edition of CineGear assembled a distinguished panel composed of Owen Roizman, László
Kovács, Daryn Okada, Rodrigo Prieto, Russell Carpenter, Dariusz Wolski, and others. Called "Dialogue With ASC
Cinematographers," the panel was asked to name two or three other cinematographers, living or dead, who had
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influenced their work or whom they considered to be the best of the best. Each panel member cited Gregg Toland first.
References
1. "Top 10 Most Influential Cinematographers Voted on by Camera Guild" (http://www.ign.com/boards/threads
/top-10-most-influential-cinematographers-voted-on-by-camera-guild.47138561/). IGN Boards. Retrieved
2017-12-21.
2. "ICG Announces Top 10 Influential Cinematographers" (https://web.archive.org/web/20170907082404/http:
//www.creativeplanetnetwork.com/news/news-articles/icg-announces-top-10-influential-cinematographers
/415189). Creative Planet Network. 2014-06-09. Archived from the original
(http://www.creativeplanetnetwork.com/news/news-articles/icg-announces-top-10-influential-
cinematographers/415189) on 2017-09-07. Retrieved 2017-12-21.
3. Wyler, William. Sequence #8, Summer 1949, p. 09
4. "Gregg Toland (1904 - 1948) - Find A Grave Memorial" (https://www.findagrave.com/memorial/5503).
www.findagrave.com. Retrieved 2016-02-27.
5. Gregg Toland (http://www.cinematographers.nl/GreatDoPh/toland.htm)
6. Wallace, Roger Dale “Gregg Toland—His Contributions to Cinema,” University Microfilms International, Ann
Arbor, 1976. p. 35
7. Ogle, Patrick “Technological and Aesthetic Influences Upon the Development of Deep Focus
Cinematography in the United States,” Screen vol. 13, no. 1, Spring 1972. p. 95-96. Among the many
technical advances discussed by Ogle in his article is the “Vard” opticoating system, where chemicals are
applied to the lenses enabling an increase in speed such that the lens can be further stopped down,
creating more depth of field. Developed at Caltech with the input of Toland, they were scarce before their
use in Kane, the only major example being the use of Bausch & Lomb lenses for the projection of Gone
with the Wind in theatres.
8. Dale, Wallace Roger “Gregg Toland—His Contributions to Cinema,” University Microfilms International,
1976 p. 48
9. Mitchell, George: “A Great Cameraman,” Films in Review, December 1956, p. 508.
10. Wallace, p. 154. “Obviously, Best Years performed no greater function than that of forcing people to focus,
much in the fashion of Toland’s camera, on all the elements that constituted the reality of the times.
11. P. 111 in Persico, Joseph E. 2001. Roosevelt's Secret War: FDR and World War II Espionage. New York:
Random House. 536 pp.
12. "New York Times: December 7th" (https://movies.nytimes.com/movie/124960/December-7th/details). NY
Times. Retrieved 2008-05-26.
13. "Top 10 Most Influential Cinematographers Voted on by Camera Guild," October 16, 2003.
(http://www.thefreelibrary.com/Top+10+Most+Influential+Cinematographers+Voted+on+by+Camera+Guild.-
a0108995062) Retrieved January 28, 2011.
External links
Gregg Toland (https://www.imdb.com/name/nm0005904/) on IMDb
Internet Encyclopedia of Cinematographers (http://www.cinematographers.nl/GreatDoPh/toland.htm)
The Motion Picture Cameraman article written by Toland (http://www.wellesnet.com/?p=178)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Gregg_Toland&oldid=862768996"
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This page w as last edited on 6 October 2018, at 15:44 (UTC).
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using this site, you agree to the Terms of Use and Privacy Policy. Wikipedia® is a registered trademark of the
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8 of 8 10/7/2018, 1:50 PM
Robert Burks - Wikipedia https://en.wikipedia.org/wiki/Robert_Burks
Robert Burks
Robert Burks, A.S.C. (July 4, 1909 – May 11, 1968) was an American
Robert Burks, A.S.C.
cinematographer known for being proficient in virtually every genre,
equally at home with black-and-white or color, and for his many Born Leslie Robert Burks
collaborations with the celebrated film director Alfred Hitchcock. July 4, 1909
Chino, California
United States
Die d May 11, 1968
Contents (aged 58) (House
Career f ire)
Biography Huntington Harbour,
Legacy Calif ornia
Cinematographic Style United States
Cinematography in The Wrong Man (1956)
Cinematography in The Birds (1963)
Cinematography in Marnie (1964)
Burks and Hitchcock
Other collaborators
Other Important Works
Filmography
Films as Special Effects Photographer[2]
Films as Cinematographer:[2]
Academy Aw ards [2][8]
References
External links and further reading
Career
Biography
Robert Burks was born in Chino California on July 4, 1909.[1] He was only nineteen years old in 1928 when he found
his first job as a special effects technician in the Warner Brother's Lab, the industry's largest special effects facility at
the time.[2] Burks' talent was evident, and he quickly rose through the ranks at Warner Bros, first promoted to assistant
cameraman in 1929, and then on to operating cameraman in 1934. In 1938 Burks rose to special effects
cinematographer, garnering over 30 special effect cinematography credits before he was promoted to Director of
Photography in 1944.[3]
With his promotion to DP (Director of Photography), Burks, who was only thirty five years old, became the youngest
fully accredited DP in the industry, working in the cinematographic unit at Warner Bros amongst the most
distinguished cinematographers of the time, from James Wong Howe to Sol Polito.[3] Throughout his career at Warner
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Brother's leading up to this time, Burks' education and special effects experience were invaluable, as he crafted his
cinematographic identity under the expertise of many of the most renowned cinematographers in the world. [4] Burks
ultimately left Warner Bros alongside Alfred Hitchcock in the fall of 1953 in favor of a move to the Paramount lot,
which boasted a greater breadth of resources and more established reputation at the time. [5]
Burks' first Director of Photography credit was Jammin' the Blues (1944), a short film featuring leading jazz musicians
of the day. It was not until 1949 that Burks evolved into a full-time production cinematographer with his photography
in The Fountainhead (1949).[4]
Burks is best known for his cinematography in a number of collaborations with director Alfred Hitchcock throughout
the 1950s and 1960s.[2] Though his legacy is highly intertwined with that of Hitchcock, in his twenty five years as a DP
Burks' worked on an impressive 55 features.[4] Notable credits include The Fountainhead, Beyond the Forest, The
Glass Menagerie, The Spirit of St. Louis, The Music Man, and A Patch of Blue.[6]
In 1968 Burks died at the age of 58 alongside his wife, Elisabeth, in a fire at their home in Huntington Harbor,
California.[4][7]
Legacy
Cinematographic Style
Burks' cinematography is most notable for its wide stylistic range, with his skills as a technician informing his
photographic versatility in black and white, color, and 3-D. Such an adeptness for a wide spectrum of cinematographic
technique imbued Burks with a unique ability to create a visual style that was in keeping with a specific directorial
vision. Burks further enforced said strong directorial vision in his works through techniques and stylistic choices that
tended to remain "invisible" to the viewer, rarely calling attention to themselves. [1] Burks filmography evidences his
ease in a variety of settings, whether it be outdoors, indoors, on location or on set. Burks' talent allowed for
experimentation and made him an equal opportunist, resulting in a filmography that boasts photography in black and
white, color, and even 3-D not to mention a number of exemplary VistaVision films. [8]
Burks' time in the special effects lab played a large part in the meticulous planning he was known to do before he ever
stepped foot on set. From the beginning of his career, Burks' was known for a high level of involvement in the pre-
production of the films he worked on, something that was uncommon for cinematographers at this time. This early
collaboration with the director in imagining visual style was the first step in Burks' highly organized and calculated
cinematographic style. He would next utilize miniature models of each of the films sets in order to devise and elaborate
plan for every lighting and camera setup in the film.[3] This high level of planning in advance bolstered Burks
reputation for incredible accuracy and precision when it came to technical set ups that were often unconventional. [5]
Burks' background boasted a wealth of technical knowledge that, when paired with his natural instincts for lighting
and composition, employed him with an exceptional ability to take artistic risks that resulted in some of the most
visually striking films of all time.[9]
Burks wide reaching accolades were recognized via a number of nominations, with four Academy Award nominations
including both best black and white photography and best color photography. Burks' one and only Oscar win was for
To Catch a Thief, which is renowned as "a magnificent example of VistaVision technique." [4]
When describing Burks, Byron Haskin, ASC, stated that, "his work is thoroughly excellent in every respect...[He is]
2 of 8 10/7/2018, 1:51 PM
honest, straightforward, resourceful and, in the true sense, a gentlemen." [4]
A closer look at Burks' cinematography in specific films best captures the wide range of his style.
Cinematography in The Wrong Man (1956)

Burks' cinematography in the black and white photography of Hitchcock's The Wrong Man has been described as
"bleakly neorealist,"[2] but its precise visual style is hard to pinpoint, instead falling "somewhere between documentary
realism and film noir, with elements of Italian neorealism and moments of modernist expressionism." Hitchcock
initially intended the film to be highly realist and shot entirely on location in such a way that it felt incredibly
documentary, a notion that is in keeping with the films basis in a true story. Ultimately, this was not the case, and The
Wrong Man comes to exemplify Burks' technical flexibility, as it was shot both on location in New York City and on set
in Hollywood, despite appearing to be entirely on location. The demands of on location shooting in New York required
on a lighting scheme of small portable Garnelite lamps, a new invention at this time, while the remainder of the film
shot in Hollywood depended on an innovative lighting scheme to imitate the naturalistic style of the on location
footage.[10]
Beyond the basic level of creating uniform lighting schemes from one location to the next, Burks' lighting style was
highly intertwined with the thematics and mood of the film. He frequently utilized the lighting scheme in The Wrong
Man to create a cross hatched shadow that "invoked the dominant theme of imprisonment and...of crucifixion". [10] This
visual style was supported by a flare for extreme camera angles and wide angle lenses that, unlike most of Burks'
photography, did call attention to themselves and, in doing so, imbued the film with a notable noir quality. These
highly crafted and precise technical and artistic decisions diverge from the explicitly realist documentary style
Hitchcock initially sought, and rather reflect Burks' flexibility and capability to capture the essence of the narrative
mood with his photography.[10]
Cinematography in The Birds (1963)

The Birds was highly reliant upon Burks' background in special effects, and is often considered to be his greatest
technical achievement. Of the film's 1,500 plus shots (already three times more than the usual number of shots in a
production), more than 400 were either trick or composite shots.[11] The film has an affinity for closeups, particularly
of Tippi Hedren, often employing heavy diffusion and a lighting scheme that utilizes a frontal slightly off-camera key
that was directional in addition to an eyelight next to the camera as well as some backlight. [12]
One of the greatest challenges lay in the realism of the birds themselves, which were initially all mechanical models
intended to appear natural. Burks was not satisfied with the look of these fake birds, and instead proposed the use of a
combination of real birds and special effects that would allow the birds to appear more realistic. Along with special
effects editor Brad Hoffman, Burks used his knowledge of special effects to manipulate pre-existing footage of birds
that could then be utilized in the film. In the end, Burks spent over a year planning, shooting, reshooting, and
overseeing special effects on The Birds to create the masterpiece we know today.[11]
One of the film's most famous and technically impressive scenes occurs at its conclusion in the shot of the Brenner's
driveway, which required a combination of thirty two different exposures as well as one of Whitlock's matte paintings.
Such a shot was highly advanced for this time and evidences Burks' technical genius and undeniable aptitude for
special effects.[11]
Hitchcock stated that "If Bob Burks and the rest of us hadn't been technicians ourselves the film would have cost $5
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million [instead of $3 million." Brad Hoffman further lauded Burks' contribution, saying the film "never could have
been made [without Burks]. It was his persistence in doing these shots over and over that made The Birds the classic it
is today." [11]
Cinematography in Marnie (1964)

Marnie, the final collaboration between Hitchcock and Burks, is often referenced as Burks' greatest cinematographic
achievement. The film plays with extremes of color as well as exploring the manipulation of telephoto and wide-angle
lenses, garnering reactions that were equally extreme. While some lauded the film for its experimental nature, others
found the radical style "audacious" and "visually clumsy." In hindsight though, the film's experimental style was ahead
of its time and is highly indicative of the art cinema movement of the 1960s. [2]
In terms of color, "the film avoids warm and bright colors, instead emphasizing subdued tones that would allow for the
selective use of two primary colors: red and yellow." [13] This experimentation with color was particularly effective in
flashback sequences, where tones were highly desaturated to evoke the feeling of a long suppressed memory.
Burks' voyeuristic camera movement in the film was more radical than anything he had done previously, alternating
between "tightly framed compositions shot with 50mm fixed lenses and striking camera moves, including backward
and forward zooms, elaborate tracking shots pans, crane shots, Dutch tiles, and even the combination zoom and dolly
shot." [13] These decisions were not superfluous though; despite their extreme nature, the camera movement in the film
was highly calculated and fluid, ultimately reflecting a "highly effective synthesis of narrative development and artistic
expression." [13]
Much like The Birds, the film toys with close ups of Tippi Hedren. According to Hitchcock biographer Donald Spoto,
the director gave Burks "unusual instructions about photographing her face - the camera was to come as close as
possible, the lenses were almost to make love to her. For a scene in which she is kissed by Sean Connery, the close-up is
so tight, the frame filled so fully with pressing lips, that the tone is virtually pornographic." [12]
Burks and Hitchcock

Burks is best known for his collaborative relationship with director Alfred Hitchcock, acting as cinematographer on
twelve of Hitchcock's films in the 1950s and 1960s, which many consider to be the period of the director's greatest
success.[14] Though little information on the nature of the pairs relationship was published due to Burks' untimely
death, it is surmised that Burks' experience with special effects may have played a decisive factor in their partnership,
as Hitchcock was known to have an affinity for special effects himself.[3]
The pair's partnership kicked off with Hitchcock's 1951 Strangers on a Train, which garnered Burks his first Oscar
nomination, and spanned over 13 years concluding with Marnie in 1964.[15] The pair's collaborations include:
Strangers on a Train (1951), I Confess (1953), Dial M For Murder (1954, 3-D, Warner Color), Rear Window (1954,
Technicolor), To Catch a Thief (1955, VistaVision, Technicolor), The Trouble with Harry (1955, VistaVision,
Technicolor), The Man Who Knew Too Much (1956, VistaVision, Technicolor), The Wrong Man (1957), Vertigo (1958,
VistaVision, Technicolor), North by Northwest (1959, VistaVision, Technicolor), The Birds (1963, Technicolor), and
Marnie (1964, Technicolor)[4]. The variety of the aforementioned films reflect Burks' considerable range, with
examples of every available format from "the black and white pseudo documentary of The Wrong Man to the
numerous VistaVision color productions" [14]
Hitchcock's own high level proficiency in special effects made his directorial style a good match for Burks, allowing for
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cinematographic experimentation as his writing often prompted "unusual camera imagery." [4]
Hitchcock is said to have been devastated by the death of Burks - many believe that if this incident had not occurred,
the two would have gone on to make numerous other masterpieces together.[4]
Other collaborators
In addition to Hitchcock, Burks did work with a number of other directors on multiple projects. Such collaborative
relationships are evidenced in Burks' repeat work as DP with the following directors: [2]
Delmer Daves: To the Victor, A Kiss in the Dark, and Task Force
Don Siegel: Hitler Lives! and Star in the Night
King Vidor: The Fountainhead and Beyond the Forest
Gordon Douglas: Come Fill the Cup, Mara Maru, and So This is Love (The Grace Moore Story)
John Farrow: Hondo, The Boy from Oklahoma
Robert Mulligan: The Rat Race and The Great Imposter
Hitchcock was known to work with a close knit production team that, in addition to Burks, included production
designer Robert Boyle, editor George Tomasini, costume designer Edith Head, and composer Bernard Herrmann. [14] A
particularly important relationship was that of Burks and operative cameraman Leonard J. South, who worked
alongside the DP on all twelve films he photographed for Hitchcock. Another important Hitchcock collaborator,
screenwriter John Micael Hayes, stated that Burks "gave Hitchcock marvelous ideas [and] contributed greatly to every
picture [he shot] during those years."[16]
Other Important Works

In the early years of his career as a DP at Warner Bros, Burks worked on reputable projects with esteemed directors
including Task Force (Delmer Daves, 1948), The Fountainhead (King Vidor, 1949), Beyond the Forest (Vidor, 1949),
The Glass Menagerie (Irving Rapper, 1950), and The Enforcer (Bretaigne Windust and Raoul Walsh, 1950). Burks'
cinematography on The Fountainhead was recognized by the Motion Picture Academy on the short list for the ten best
photographed black and white films of 1949.[3]
Filmography
Films as Special Effects Photographer[2]

Marked Woman, 1937
Brother Orchid, 1940
A Dispatch from Reuters, 1940
They Drive by Night, 1940
The Story of Dr. Ehrlich's Magic Bullet, 1940
King's Row, 1941
Highway West, 1941
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In This Our Life, 1942

Arsenic and Old Lace, 1944
Pride of the Marines, 1945
God Is My Co-Pilot, 1945
Night and Day, 1946
The Verdict, 1946
The Two Mrs. Carrolls, 1947
My Wild Irish Rose, 1947
Possessed, 1947
The Unfaithful, 1947
Cry Wolf, 1947
The Unsuspected, 1947
The Woman in White, 1948
Key Largo, 1948
Romance on the High Seas, 1948
Smart Girls Don't Talk, 1948
John Loves Mary, 1949
The Younger Brothers, 1949
The Miracle of Our Lady of Fatima, 1952
Films as Cinematographer:[2]
Jammin' the Blues, 1944
Make Your Own Bed, 1944
Escape in the Desert, 1945
Hitler Lives!, 1945
Star in the Night, 1945
To the Victor, 1948
A Kiss in the Dark, 1948
Task Force, 1949
The Fountainhead, 1949
Beyond the Forest, 1949
The Glass Menagerie, 1950
Room for One More, 1951
Close to My Heart, 1951
The Enforcer, 1951
Strangers on a Train, 1951
Tomorrow is Another Day, 1951
Come Fill the Cup, 1951
Mara Maru, 1952
I Confess, 1952
The Desert Song, 1953
Hondo, 1953
The Boy from Oklahoma, 1953
So This Is Love, 1953
Dial M for Murder, 1954
Rear Window, 1954
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To Catch a Thief, 1955

The Man Who Knew Too Much, 1955
The Trouble with Harry, 1955
The Vagabond King, 1956
The Wrong Man, 1956
The Spirit of St. Louis, 1957
Vertigo, 1958
The Black Orchid, 1958
North By Northwest, 1959
But Not for Me, 1959
The Rat Race, 1960
The Great Imposter, 1960
The Pleasure of His Company, 1961
The Music Man, 1962
The Birds, 1963
Marnie, 1964
Once a Thief, 1965
A Patch of Blue, 1965
A Covenant with Death, 1966
Waterhole #3, 1967
Academy Awards[2][8]
Nominee - Best Black and White Photography Strangers on a Train 1951
Nominee - Best Color Photography Rear Window 1954
Winner - Best Color Photography To Catch a Thief 1955
Nominee - Best Black and White Photography A Patch of Blue 1965
References
1. Whitty, Stephen (2016). The Alfred Hitchcock Encyclopedia. Maryland: Roman & LIttlefield. pp. 62–63.
2. Morrison, James (2006). International Directory of Films and Filmmakers. Detroit: St. James Press.
pp. 135–136 – via Gale Cengage Learning.
3. Beach, Christopher (2015). A Hidden History of Film Style, Cinematographers, Directors, and the
Collaborative Process. University of California Press. pp. 129–131.
4. Turner, George (1998). "Great Relationships: Robert Burks and Alfred Hitchcock". American
Cinematographer. 79: 72–74 – via ProQuest.
Collaborative Process. Oakland: University of California Press. p. 135.
6. "Robert Burks Biography" (http://www.cinematographers.nl/GreatDoPh/burks.htm). Internet Encyclopedia of
Cinematographers. Retrieved 9 June 2014.
7. "Robert Burks Obituary" (https://www.nytimes.com/movies/person/83582/Robert-Burks). The New York Times.
Retrieved 9 June 2014.
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8. Beach, Christopher (2015). A Hidden History of Film Style: Cinematographers, Directors, and the
Collaborative Process. Oakland: University of California Press. pp. 132–134.
Collaborative Process. University of California Press. pp. 144–146.
12. Pizello, Stephen (2012). "Hitchcock Blonde". American Cinematographer. 10: 76–85 – via ProQuest.
15. Beach, Christopher (2015). A Hidden History of Film Style: Cinematographers, Directors, and the
Collaborative Process. Oakland: University of California Press. "128-129"
External links and further reading

Robert Burks (https://www.imdb.com/name/nm0122079/) on IMDb
Robert Burks (https://www.findagrave.com/memorial/18742889) at Find a Grave
"Hitchcock Blonde" by Stephen Pizzello. American Cinematographer; Oct 2012; 93,10; Screen Studies
Collection
Retrieved from "https://en.wikipedia.org/w/index.php?title=Robert_Burks&oldid=862290796"
8 of 8 10/7/2018, 1:51 PM
Freddie Young - Wikipedia https://en.wikipedia.org/wiki/Freddie_Young
Freddie Young
Frederick A. Young, OBE, BSC (9 October 1902 – 1 December 1998),
Freddie Young
(often credited as F.A. Young) was a British cinematographer. He is
probably best known for his work on David Lean's films Lawrence of Born Frederick A. Young
Arabia (1962), Doctor Zhivago (1965) and Ryan's Daughter (1970), all 9 October 1902
three of which won him Academy Awards for Best Cinematography. London, England
Die d 1 December 1998
He was also director of photography on more than 130 films, including (aged 96)
many other notable productions, such as Goodbye, Mr Chips (1939), 49th
Nationality British
Parallel (1941), Lust for Life (1956), The Inn of the Sixth Happiness (1958),
Lord Jim (1965), Battle of Britain (1969), Nicholas and Alexandra (1971), Occupation Cinematographer
and the James Bond film You Only Live Twice (1967). He was also the first Ye ars active 1920–1983
British cinematographer to film in CinemaScope. Childre n Michael Young 1937
Young co-wrote The Work of the Motion Picture Cameraman, with Paul Aw ards Be s t
Petzold, published in 1972 (Focal Press, London). Cine m atography
1962 Lawrence of
In 2003, a survey conducted by the International Cinematographers Guild Arab ia
placed Young among the ten most influential cinematographers in 1965 Doctor
history.[1] Zhivago
1970 Ryan's
He was awarded The Royal Photographic Society's Centenary Medal and
Daughter
Honorary Fellowship (HonFRPS) in recognition of a sustained, significant
contribution to the art of photography in 1996/97.[2]
In 1984, Young directed his only film as at the age of 82, Arthur's Hallowed Ground, starring Jimmy Jewel, which was
made for television.
Selected films
Victory (1928)
White Cargo (1929)
A Peep Behind the Scenes (1929)
Canaries Sometimes Sing (1930)
Rookery Nook (1930)
The W Plan (1930)
Tons of Money (1930)
On Approval (1930)
A Warm Corner (1930)
White Cargo (1930)
Mischief (1931)
Carnival (1931)
Plunder (1931)
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The Chance of a Night Time (1931)

The Sport of Kings (1931)
Tilly of Bloomsbury (1931)
The Speckled Band (1931)
The Blue Danube (1932)
The Mayor's Nest (1932)
Leap Year (1932)
A Night Like This (1932)
Good Night, Vienna (1932)
It's a King (1933)
Night of the Garter (1933)
Trouble (1933)
Up for the Derby (1933)
Bitter Sweet (1933)
A Cuckoo in the Nest (1933)
Girls, Please! (1934)
The Queen's Affair (1934)
Nell Gwynn (1934)
Peg of Old Drury (1935)
Escape Me Never (1935)
When Knights Were Bold (1936)
The Frog (1936)
Fame (1936)
Three Maxims (1936)
Limelight (1936)
Two's Company (1936)
Victoria the Great (1937)
Sunset in Vienna (1937)
London Melody (1937)
Millions (1937)
Sixty Glorious Years (1938)
Nurse Edith Cavell (1939)
Goodbye, Mr. Chips (1939)
Busman's Honeymoon (1940)
Contraband (1940)
49th Parallel (1941)
The Young Mr. Pitt (1942)
Caesar and Cleopatra (1945)
Bedelia (1946)
So Well Remembered (1947)
While I Live (1947)
The Winslow Boy (1948)
Treasure Island (1950)
Calling Bulldog Drummond (1951)
Ivanhoe (1952)
Mogambo (1953)
Knights of the Round Table (1953)
Lust for Life (1956)
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Invitation to the Dance (1956)

Bhowani Junction (1956)
Island in the Sun (1957)
The Barretts of Wimpole Street (1957)
The Inn of the Sixth Happiness (1958)
Gideon's Day (1958)
Indiscreet (1958)
I Accuse! (1958)
Solomon and Sheba (1959)
The Greengage Summer (1961)
Lawrence of Arabia (1962)
Lord Jim (1965)
Rotten to the Core (1965)
Doctor Zhivago (1965)
The Deadly Affair (1966)
You Only Live Twice (1967)
Battle of Britain (1969)
Ryan's Daughter (1970)
Nicholas and Alexandra (1971)
The Asphyx (1973)
Luther (1973)
The Blue Bird (1976)
Stevie (1978)
Rough Cut (1980)
References
a0108995062). Retrieved 28 January 2011.
2. Royal Photographic Society's Centenary Award (http://www.rps.org/annual-awards/Centenary-Medal).
Retrieved 13 August 2012
External links
Freddie Young (http://www.screenonline.org.uk/people/id/477394/) at the BFI's Screenonline. Biography and
filmography
Freddie Young (https://www.imdb.com/name/nm0002875/) on IMDb
The Making of Lawrence of Arabia (https://web.archive.org/web/20110525124738/http://www.bafta.org
/archive/david-lean/lawrence-of-arabia-journal,8,BAA.html), Digitised BAFTA Journal, Winter 1962-3,
including article by Freddie Young
Retrieved from "https://en.wikipedia.org/w/index.php?title=Freddie_Young&oldid=861160739"
This page w as last edited on 25 September 2018, at 14:44 (UTC).
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Vittorio Storaro - Wikipedia https://en.wikipedia.org/wiki/Vittorio_Storaro
Vittorio Storaro
Vittorio Storaro, A.S.C., A.I.C. (born 24 June 1940) is an Italian
Vittorio Storaro
cinematographer widely recognized for his work on numerous classic
films including The Conformist, Apocalypse Now, and The Last
Emperor. In the course of over fifty years, he has collaborated with
directors like Bernardo Bertolucci, Francis Ford Coppola, Warren Beatty,
and Woody Allen. He has received three Academy Awards for Best
Cinematography, a BAFTA Film Award for Best Cinematography, a
Primetime Emmy Award, a Goya Award, and a David di Donatello Silver
Ribbon Award, in addition to numerous lifetime achievement honours
from various film organizations.
Contents
Early life
Vittorio Storaro at Cannes in 2001
Career Born June 24, 1940

Rome, Italy
Personal life
Filmography Nationality Italian
References Education Centro Sperimentale

Further reading di Cinematograf ia
External links Occupation Cinematographer

Ye ars active 1960–present
Organization
Early life American Society
of
Storaro was born in Rome. The son of a film projectionist, Storaro began
Cinematographers
studying photography at the age of 11. He went on to formal
cinematography studies at the national Italian film school, Centro
Associazione
Italiana Autori
Sperimentale di Cinematografia, when he was 18.
della Fotograf ia
Cinematograf ica
Career
Know n for
Storaro is considered to be one of the greatest and most influential The Conformist
cinematographers of all time.[1][2][3][4] He has worked with many Apocalypse Now
important film directors, in particular Bernardo Bertolucci, with whom The Last Emperor
he has had a long collaboration.[5] His philosophy is largely inspired by Last Tango in
Johann Wolfgang von Goethe's theory of colors, which focuses in part on Paris
the psychological effects that different colors have and the way in which
Dick Tracy
colors influence our perceptions of different situations.
He first worked with Bertolucci on The Conformist (1970). Set in Fascist
1 of 4 10/7/2018, 1:52 PM
Italy, the film has been described as a "visual masterpiece."[6] Aw ards

Academy Aw ard
Also in 1970, he photographed The Bird with the Crystal Plumage, the f or Best
directorial debut of Dario Argento and a landmark film in the giallo Cinematography
genre.[7] BAFTA Aw ard f or
Best
The first American film that Storaro worked on was Apocalypse Now
Cinematography
(1979). Director Francis Ford Coppola gave him free rein on the film's
visual look.[8] Apocalypse Now earned Storaro his first Academy Award. American Society
of
He worked with Warren Beatty for the first time on Reds (1981), and Cinematographers
ended up winning his second Academy Award. Lif etime
Achievement
Storaro won a third Academy Award for The Last Emperor (1987),
Aw ard
directed by Bertolucci. Three years later he received a nomination, but
did not win, for the Beatty film Dick Tracy. Cannes Film
Festival Technical
In 2002, Storaro completed the first in a series of books that attempt to Grand Prize
articulate his philosophy of cinematography more substantively.[9] David di Donatello
Silver Ribbon f or
He was cinematographer for a BBC co-production with Italian
Best
broadcaster RAI of Verdi's Rigoletto over two nights on the weekend of 4
Cinematography
and 5 September 2010.[10]
Goya Aw ard f or
Woody Allen's Café Society (2016) was the first film that Storaro shot Best
digitally. He used the Sony F65 camera.[11] Cinematography
Primetime Emmy
His other film credits include 1900, Last Tango in Paris, Dominion:
Aw ard f or
Prequel to the Exorcist, One From the Heart, Bulworth, The Sheltering
Outstanding
Sky, Tucker: The Man and His Dream, Ladyhawke, Tango, and Goya en
Cinematography
Burdeos.
With his son Fabrizio, he created the Univisium format system to unify all
future theatrical and television movies into one respective aspect ratio of
2.00:1.
Personal life
Storaro is known for stylish, fastidious, and flamboyant personal fashion.
Francis Ford Coppola once noted that Storaro was the only man he ever Vittorio Storaro in Camerimage
knew that could fall off a ladder in a white suit, into the mud, and not get Festival 23 in 2015, talking about
dirty. how color affects people
physically and psychologically
Filmography
References
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1. Kay, Jeremy. "And the 11 most influential cinematographers of all time are..." (https://www.screendaily.com
/and-the-11-most-influential-cinematographers-of-all-time-are-/4015572.article) Screen Daily.
2. "Cinematographer Vittorio Storaro Warns of "Major Problem" in the Field"
(http://www.hollywoodreporter.com/behind-screen/cinematographer-vittorio-storaro-warns-major-899691). The
Hollywood Reporter. Retrieved 2017-09-23.
3. "The 10 Most Visually Stunning Movies Shot by Vittorio Storaro" (http://www.tasteofcinema.com/2015/the-
10-most-visually-stunning-movies-shot-by-vittorio-storaro/). Taste of Cinema - Movie Reviews and Classic
Movie Lists. Retrieved 2017-09-23.
4. Jones, Interview by Jonathan (2003-07-09). "Cinematographer Vittorio Storaro reveals his inspiration"
(https://www.theguardian.com/film/2003/jul/09/artsfeatures). The Guardian. ISSN 0261-3077
(https://www.worldcat.org/issn/0261-3077). Retrieved 2017-09-23.
5. Pizzello, Stephen. "Storaro and Bertolucci Celebrated at Milan International Film Festival"
(https://theasc.com/news/storaro-and-bertolucci-celebrated-at-milan-international-film-festival ). American
Society of Cinematographers.
6. Berardinelli, James. "Review: The Conformist" (http://preview.reelviews.net/movies/c/conformist.html).
ReelViews.
7. Gallant, Chris. "Where to begin with giallo" (https://www.bfi.org.uk/news-opinion/news-bfi/features/where-
begin-giallo). BFI.
8. "Flashback: Apocalypse Now" (https://ascmag.com/articles/flashback-apocalypse-now). American
Cinematographer.
9. Jones, Jonathan. "Painting with light" (https://www.theguardian.com/film/2003/jul/09/artsfeatures). The
Guardian.
10. Adetunji, Jo. "Verdi's Rigoletto given 'cinematic' makeover for BBC" (https://www.theguardian.com/music
/2010/jul/25/verdi-rigoletto-opera-bbc-television). The Guardian.
11. Giardina, Carolyn. "Cinematographer Vittorio Storaro on Filming 'Cafe Society' Digitally: "You Can't Stop
Progress" " (https://www.hollywoodreporter.com/behind-screen/cinematographer-vittorio-storaro-filming-
cafe-911441). Hollywood Reporter.
Further reading
Masters of Light - Conversations with cinematographers (1984) Schaefer, S & Salvato, L.,
ISBN 0-520-05336-2
Writer of Light: The Cinematography of Vittorio Storaro, ASC, AIC (2000) Zone, R., ISBN 0-935578-18-8
Vittorio Storaro: Writing with Light: Volume 1: The Light (2002) Storaro, V., ISBN 1-931788-03-0
External links
Vittorio Storaro (https://www.imdb.com/name/nm0005886/) on IMDb
International Cinematographers Guild Interview (https://web.archive.org/web/20050221085534/http:
//www.cameraguild.com/interviews/chat_storaro/storaro_interview.htm)
Vittorio Storaro Website (Italian or English) (http://storarovittorio.com/)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Vittorio_Storaro&oldid=862472689"
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Sven Nykvist - Wikipedia https://en.wikipedia.org/wiki/Sven_Nykvist
Sven Nykvist
Sven Vilhem Nykvist (Swedish pronunciation: [ˈsvɛnː ˈvɪlːhɛlm ²nyːkvɪst])
Sven Nykvist
(3 December 1922 – 20 September 2006) was a Swedish cinematographer.
He worked on over 120 films, but is known especially for his work with
director Ingmar Bergman. He won Academy Awards for his work on two
Bergman films, Cries and Whispers (Viskningar och rop) in 1973 and
Fanny and Alexander (Fanny och Alexander) in 1983, and the
Independent Spirit Award for Best Cinematography for The Unbearable
Lightness of Being.
His work is generally noted for its naturalism and simplicity. He is

considered by many to be one of the greatest cinematographers of all
time.[1] In 2003, Nykvist was judged one of history's ten most influential
cinematographers in a survey conducted by the International
Cinematographers Guild.[2]
Contents
Life and career Sven Nykvist on the cover of his
Selected filmography book Vördnad för ljuset
("Reverence f or the light"). 1997.
References
External links Born Sven Vilhem Nykvist
3 December 1922
Moheda,
Life and career Kronobergs län,
Sw eden
Nykvist was born in Moheda, Kronobergs län, Sweden. His parents were
Die d 20 September 2006
Lutheran missionaries who spent most of their lives in the Belgian Congo,
(aged 83)
so Nykvist was raised by relatives in Sweden and saw his parents rarely. His
Stockholm, Sw eden
father was a keen amateur photographer of African wildlife, whose
activities may have sparked Nykvist's interest in the visual arts. Nationality Sw edish
A talented athlete in his youth, Nykvist's first cinematic effort was to film
Spous e (s ) Ulla Söderlind
himself taking a high jump, to improve his jumping technique. After a year
(m. 1952–1968)
at the Municipal School for Photographers in Stockholm, he entered the
Ulrika Nykvist
Swedish film industry at the age of 19.
Childre n Carl-Gustaf Nykvist
In 1941, he became an assistant cameraman at Sandrews studio, working on
The Poor Millionaire. He moved to Italy in 1943 to work at Cinecittà Studios, returning to Sweden two years later. In
1945, aged 23, he became a full-fledged cinematographer, with his first solo credit on The Children from Frostmo
Mountain.
1 of 4 10/7/2018, 1:53 PM
He worked on many small Swedish films for the next few years, and spent some time with his parents in Africa filming
wildlife, footage which was later released as a documentary entitled In the Footsteps of the Witch Doctor (also known
as Under the Southern Cross).
Back in Sweden, he began to work with the director Ingmar Bergman in 1953 on Sawdust and Tinsel (released in the
US as The Naked Night). He was one of three cinematographers to work on that film, the others being Gunnar Fischer
and Hilding Bladh.
Nykvist would eventually become Bergman's full-time

cinematographer and push the director's work in a new direction,
away from the theatrical look of his earlier films. He worked as sole
cameraman on Bergman's Oscar-winning films The Virgin Spring in
1959 and Through a Glass Darkly in 1960. He revolutionised the way
faces are shot in close-up with Bergman's psychologic drama Persona
in 1966.
After working with other Swedish directors, including Alf Sjöberg on

The Judge (1960) and Mai Zetterling on Loving Couples (1964), he
then worked in the United States and elsewhere, on: Richard
Fleischer's The Last Run (1971); Louis Malle's Black Moon (1975) and Sven Nykvist with director Ingmar
Pretty Baby (1978); Roman Polanski's The Tenant (1976); Jan Troell's Bergman during the production of
Through a Glass Darkly, 1960
Hurricane (1979); Bob Rafelson's version of The Postman Always
Rings Twice (1981); Agnes of God (1985); Woody Allen's Another
Woman (1988) and Crimes and Misdemeanors (1989); Richard Attenborough's Chaplin (1992); Nora Ephron's
Sleepless in Seattle (1993); and Lasse Hallström's What's Eating Gilbert Grape (1993).
Nykvist won the Academy Award for Best Cinematography for two of his films: Cries and Whispers (1973), and Fanny
and Alexander (1982), both of which were Bergman films. At the 9th Guldbagge Awards in 1973 he won the Special
Achievement award for his work on Cries and Whispers.[3] He was also nominated for a Cinematography Oscar for The
Unbearable Lightness of Being (1988), and in the category of Best Foreign Language Film for The Ox (1991), in which
he directed Max von Sydow and Liv Ullmann.
He won a special prize at the Cannes Film Festival for his work on The Sacrifice (1986), the last film of the Russian
director Andrei Tarkovsky. He was the first European cinematographer to join the American Society of
Cinematographers, and received a Lifetime Achievement Award from the ASC in 1996. [4]
He wrote three books, including Curtain Call in 1999.
His ex-wife, Ulrika, died in 1982. Nykvist's career was brought to a sudden end in 1998 when he was diagnosed with
aphasia, and he died in 2006, aged 83.
He is survived by his son, Carl-Gustaf Nykvist, who directed his first film, Woman on the Roof, in 1989 and directed a
documentary about his father, Light Keeps Me Company, 1999.
Sawdust and Tinsel (1953)
Laughing in the Sunshine (1956)
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The Virgin Spring (1960) (Jungfrukällan)

Through a Glass Darkly (1961) (Såsom i en spegel)
Winter Light (1963) (Nattvardsgästerna)
The Silence (1963) (Tystnaden)
Persona (1966)
Shame (1968) (Skammen)
Hour of the Wolf (1968) (Vargtimmen)
The Passion of Anna (1969) (En Passion)
The Touch (1971) (Beröringen)
The Last Run (1971)
Siddhartha (1972), from the Hermann Hesse novel, directed by Conrad Rooks
Cries and Whispers (1973) (Viskningar och rop) (won Academy Award for Best Cinematography)
Scenes from a Marriage (1973) (Scener ur ett äktenskap)
The Dove (1974)
Black Moon (1975) directed by Louis Malle
The Magic Flute (1975) (Trollflöjten)
The Tenant (1976) ( Le Locataire) directed by Roman Polanski
Face to Face (1976) directed by Ingmar Bergman
The Serpent's Egg (1977) (Das Schlangenei)
Autumn Sonata (1978) (Höstsonaten)
Pretty Baby (1978)
Starting Over (1979)
Marmalade Revolution (1980)
From the Life of the Marionettes (1980) (Aus dem Leben der Marionetten)
The Postman Always Rings Twice (1981)
Fanny and Alexander (1982) (Fanny och Alexander) (won Academy Award for Best Cinematography)
Star 80 (1983)
Agnes of God (1985)
The Sacrifice (1986)
The Unbearable Lightness of Being (1988) (nominated for Academy Award for Best Cinematography)
New York Stories (1989) (segment "Oedipus Wrecks")
Crimes and Misdemeanors (1989)
Buster's Bedroom (1990)
The Ox (1991)
Chaplin (1992)
Sleepless in Seattle (1993)
What's Eating Gilbert Grape (1993)
Something to Talk About (1995)
Celebrity (1998)
References
1. Cinematographer Nykvist dies, 83 (http://news.bbc.co.uk/2/hi/entertainment/5367712.stm), BBC News
a0108995062) Retrieved January 28, 2011.
3. "Viskningar och rop (1973)" (http://www.sfi.se/en-GB/Swedish-film-database/Item/?type=MOVIE&
3 of 4 10/7/2018, 1:53 PM
itemid=4905&iv=Awards). Swedish Film Institute. 2 March 2014.

4. Some years later Nykvist told in a Swedish television interview about joining the ASC. At first he was
surprised over having to qualify for the entrance, but showed up for his interview. One of the first questions
to him was, how many full-length films he had shot. He said "seventy", to which the board said, that they
understood that there was a language problem; obviously Nykvist had meant "seventeen". No, seventy,
seven-oh. Hrm-hrm. Than the board said "It says here, you've been doing some films with Bergman." "Yes,
that's seventeen," Nykvist answered...
In-depth interview with Nykvist from 1984 on working with Bergman (https://web.archive.org
/web/20071021193228/http://www.fathom.com/feature/122159/index.html )
Obituary (https://www.telegraph.co.uk
/news/main.jhtml;jsessionid=Y3AGQQGZ3G3E1QFIQMGSFF4AVCBQWIV0?view=DETAILS&grid=&
xml=/news/2006/09/21/db2101.xml), The Daily Telegraph, 20 September 2006
Obituary (https://www.nytimes.com/2006/09/21/movies/21nykvist.html?ex=1316491200&
en=09626932c5efdcda&ei=5090&partner=rssuserland&emc=rss), New York Times, 21 September 2006
External links
Sven Nykvist (https://www.imdb.com/name/nm0005815/) on IMDb
Sven Nykvist (http://www.sfi.se/en-gb/Swedish-film-database/Item/?type=PERSON&itemid=61277) at the
Swedish Film Database
Sven Nykvist (http://tcmdb.com/participant/participant.jsp?participantId=142769) at the TCM Movie
Database
Interview with Nicholas Pasquariello in 1989 in San Francisco, California [1] (https://archive.org/details
/InterviewWithCinematographerSvenNykvist)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Sven_Nykvist&oldid=857106759"
This page w as last edited on 29 August 2018, at 16:23 (UTC).
4 of 4 10/7/2018, 1:53 PM
Kazuo Miyagawa - Wikipedia https://en.wikipedia.org/wiki/Kazuo_Miyagawa
Kazuo Miyagawa
Kazuo Miyagawa (宮川⼀夫 Miyagawa Kazuo, February 25, 1908 – August 7, 1999) was an acclaimed Japanese
cinematographer.[1]
Miyagawa is best known for his tracking shots, particularly those in Rashomon (1950), the first of his three
collaborations with preeminent filmmaker Akira Kurosawa.
He also worked on films by major directors Kenji Mizoguchi, Yasujirō Ozu, and Kon Ichikawa, such as Ugetsu
Monogatari (1953), Floating Weeds (1959) and the documentary Tokyo Olympiad (1965) respectively.
Miyagawa is regarded as having invented the cinematographic technique known as bleach bypass, for Ichikawa's 1960
film Her Brother.[2][3][4]
Singing Lovebirds (鴛鴦歌合戦 Oshidori utagassen, 1939)
Rashomon (羅⽣門 Rashōmon, 1950)
Ugetsu (⾬⽉物語 Ugetsu Monogatari, 1953)
A Geisha (祇園囃⼦ Gion Bayashi, 1953)
The Woman in the Rumor (噂の⼥ Uwasa no onna, 1954)
Sansho the Bailiff (⼭椒⼤夫 Sanshō Dayũ, 1954)
The Crucified Lovers (近松物語 Chikamatsu Monogatari, 1954)
Street of Shame (⾚線地帯 Akasen chitai, 1956)
The Love of a Princess (朱雀門 Suzakumon, 1957)
Enjo (炎上 Enjō, 1958)
The Gay Masquerade (弁天⼩僧 Benten Kozō, 1958)
Odd Obsession (鍵 Kagi, 1959)

Floating Weeds (1959)
Scar Yosaburo (切られ与三郎 Kirare Yosaburō, 1960)
Her Brother (1960)
Yojimbo (⽤⼼棒 Yōjinbō, 1961)
Zatoichi and the Chest of Gold (座頭市千両⾸ Zatōichi senryō-kubi, 1964)
Tokyo Olympiad (東京オリンピック Tōkyō Orinpikku, 1965)
Zatoichi's Vengeance (座頭市の歌が聞える Zatōichi no uta ga kikoeru, 1966)
Zatoichi the Outlaw (座頭市牢破り Zatōichi rōyaburi, 1967)

Zatoichi and the Fugitives (1968)
Zatoichi Meets Yojimbo (1970)
Zatoichi Goes to the Fire Festival (1970)
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Kazuo Miyagawa - Wikipedia https://en.wikipedia.org/wiki/Kazuo_Miyagawa
Lone Wolf and Cub: Baby Cart in Peril (1972)

MacArthur's Children (瀬⼾内少年野球団 Setouchi Shōnen Yakyū-dan, 1984)
References
1. Bergen, Ronald. "Kazuo Miyagawa: The innovative Japanese cinematographer whose reputation was
made by Rashomon," (https://www.theguardian.com/obituaries/story/0,,269158,00.html) Guardian
(Manchester). August 20, 1999.
2. "Kon Ichikawa Retrospective Part 1" (http://www.momat.go.jp/FC/NFC_Calendar/2003-08/kaisetsu.html) (in
Japanese). National Film Center. Retrieved 2008-04-20.
3. ⽇刊スポーツ・訃報・宮川⼀夫⽒ (https://web.archive.org/web/20071114174517/http://www.nikkansports.com
/jinji/1999/seikyo990808.html) (in Japanese). Archived from the original (http://www.nikkansports.com/jinji
/1999/seikyo990808.html) on 2007-11-14. Retrieved 2008-04-20.
4. "東京現像所：the 50th Anniversary：TOGENの歴史" (https://web.archive.org/web/20071114163558/http:
//www.tokyolab.co.jp/50th/05.html) (in Japanese). Archived from the original (http://www.tokyolab.co.jp
/50th/05.html) on 2007-11-14. Retrieved 2008-04-20.
External links
Kazuo Miyagawa (https://www.imdb.com/name/nm0594335/) on IMDb
Retrieved from "https://en.wikipedia.org/w/index.php?title=Kazuo_Miyagawa&oldid=838594586"
This page w as last edited on 28 April 2018, at 01:06 (UTC).
2 of 2 10/7/2018, 1:53 PM
Janusz Kamiński - Wikipedia https://en.wikipedia.org/wiki/Janusz_Kamiński
Janusz Kamiński
Janusz Zygmunt Kamiński, A.S.C. (Polish: [ˌjanuʂ kaˈmiɲskʲi]; born
Janusz Kamiński
June 27, 1959) is a Polish[1] cinematographer and film director who started
his career in the United States. He rose to fame in the 1990s with his work
on Schindler's List (1993). He has established a partnership with Steven
Spielberg, working as a cinematographer on his movies since 1993.[4] He
won the Academy Award for Best Cinematography for his work on
Schindler's List and Saving Private Ryan (1998). In recent years, Kamiński
has also moved into the field of directing, first with the horror film Lost
Souls, and later television series like The Event and The Divide.
Contents
Life and career
Filmography
As cinematographer
As other
Aw ards and nominations
Industry awards Kamiński in 2014
Critics awards
Born Janusz Zygmunt
References
Kamiński
External links June 27, 1959
Ziębice, Poland
Nationality Polish[1]
Life and career
Alm a m ate r Columbia College
Kamiński was born in Ziębice, Poland, the son of mother, Jadwiga Celner, Chicago (B.A.,
and father, Marian Kaminski.[5] In 1981, he emigrated to the United States 1987) [2]
at the age of 21 after Prime Minister Jaruzelski imposed martial law. AFI Conservatory
(M.F.A., 1987) [3]
He attended Columbia College in Chicago from 1982 to 1987, graduating
with a Bachelor of Arts degree,[2] taking up filmmaking as a profession Occupation Cinematographer,
before transferring to the AFI Conservatory, where he graduated with a f ilm director,
Master of Fine Arts degree. He worked under cinematographer Phedon television director
Papamichael, first as a gaffer, then as chief lighting technician, and Ye ars active 1986–present
eventually second unit director of photography. He shot numerous
Organization American Film
B-movies for directors Roger Corman and Katt Shea, as well as the
Institute
romantic musical comedy Cool as Ice, starring Vanilla Ice. American Society
Kamiński was first discovered by Steven Spielberg in 1991. After seeing the
of
Cinematographers
television film Wildflower, Spielberg hired Kamiński to shoot Class of '61, a
1 of 11 10/7/2018, 1:58 PM
television film in which Spielberg served as producer.[6] Spous e (s ) Holly Hunter

(m. 1995;
He twice won the Academy Award for Best Cinematography in the 1990s, div. 2001)
for Schindler's List and Saving Private Ryan. He has been nominated four Rebecca Rankin
additional times for Amistad, The Diving Bell and the Butterfly, War Horse (m. 2004;
div. 2010)
and Lincoln. In 2010, he was awarded the Franklin J. Schaffner Alumni
Medal by the AFI Conservatory.[7] Aw ards
Academy
Kamiński was married to actress Holly Hunter from 1995 until 2001. He Aw ard f or Best
married ABC reporter Rebecca Rankin in 2004. They divorced in 2010.[8] Cinematography
Schindler's
Filmography List (1993)
Saving
Private
As cinematographer Ryan (1998)
BAFTA Aw ard
f or Best
Cinematography
Schindler's
List (1993)
Independent
Spirit Aw ard f or
Best
Cinematography
The Diving
Bell and the
Butterfly
(2008)
Satellite Aw ard
f or Best
Cinematography
Amistad
(1997)
The Diving
Bell and the
Butterfly
(2008)
2 of 11 10/7/2018, 1:58 PM
Year Title Dir. Notes
1990 Grim Prairie Tales Wayne Coe
The Terror Within II Andrew Stevens
Killer Instinct David Tausik as Jennifer Stotlz
1991 Pyrates Noah Stern
Cool as Ice David Kellogg
Wildflower Diane Keaton Television film
Trouble Bound Jeffrey Reiner
Class of '61 Gregory Hoblit Television film
Stephen
The Adventures of Huck Finn
Sommers
Won:
Academy Award for Best

Cinematography
BAFTA Award for Best Cinematography
BSC Award for Best Cinematography
1993
NSFC Award for Best Cinematography
LAFCA Award for Best Cinematography
Steven
Schindler's List NYFCC Award for Best Cinematography
Spielberg
BSFC Award for Best Cinematography
DFWFCA Award for Best
Cinematography
CFCA Award for Best Cinematography
Nominated for:
ASC Award for Best Cinematography
Duwayne
1994 Little Giants
Dunham
Jeremiah S.
Tall Tale
Chechik
1995
Jocelyn
How to Make an American Quilt
Moorhouse
1996 Jerry Maguire Cameron Crowe
The Lost World: Jurassic Park
Won:
Satellite Award for Best

Steven Cinematography
1997
Amistad Spielberg
Nominated for:

Cinematography
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Won:

Cinematography
OFCS Award for Best Cinematography
Nominated for:

1998 Saving Private Ryan
Cinematography
Golden Frog Award for Best
Cinematography
FFCA Award for Best Cinematography
Cinematography
Nominated for:
2001 A.I. Artificial Intelligence AFI Award for Cinematographer of the

Year
Nominated for:

Cinematography
Minority Report
2002 Steven INOCA Award for Best Cinematography
Spielberg OFCS Award for Best Cinematography
Catch Me If You Can
2004 The Terminal
War of the Worlds
2005 Nominated for:

Munich
Won:
Independent Spirit Award for Best

Cinematography
Julian
2007 The Diving Bell and the Butterfly Golden Frog Award for Best
Schnabel
Cinematography
Cinematography
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Vulcan Prize for the Technical Artist

LAFCA Award for Best Cinematography
Nominated for:

Cinematography
César Award for Best Cinematography
ICP Award for Best Cinematography
SLFCA Award for Best Cinematography
INOCA Award for Best Cinematography
Stockholm Film Festival Award for Best
Cinematography
Indiana Jones and the Kingdom Steven

2008
of the Crystal Skull Spielberg
2009 Funny People Judd Apatow
2010 How Do You Know James L. Brooks
The Adventures of Tintin
Won:

Cinematography
Critics Choice Award for Best
Cinematography
SLFCA Award for Best Cinematography
Cinematography
2011
War Horse Nominated for:
Steven
Spielberg Academy Award for Best
Cinematography
EDA Award for Best Cinematography
HFCS Award for Best Cinematography
WDCAFCA Award for Best
Cinematography
Nominated for:
2012 Lincoln Academy Award for Best

Cinematography
5 of 11 10/7/2018, 1:58 PM

Satellite Award for Best Cinematography
Critics Choice Award for Best
Cinematography
HFCS Award for Best Cinematography
OFCS Award for Best Cinematography
2014 The Judge David Dobkin
Nominated for:

Cinematography
2015 Bridge of Spies Hollywood Film Award Cinematographer
of the Year
Steven ASC Award for Best Cinematography
Spielberg
2016 The BFG
2017 The Post
2018 Ready Player One
As other
6 of 11 10/7/2018, 1:58 PM
Year Title Dir. DoP. Notes
Not of This Earth Jim Wynorski Zoran Hochstätter

1988 Saturday the 14th Howard R. Gaffer
Levie Isaacks
Strikes Back Cohen
Uncredited;
Mary Ann
Lords of the Deep Austin McKinney Director of 2nd Unit
Fisher
Photography
Stripped to Kill II: Live

1989 Girls Katt Shea Gaffer
Dance of the Damned Phedon
Ken Wheat Papamichael
After Midnight Chief lighting technician
Jim Wheat
Streets Katt Shea

1990 Director of 2nd Unit
Watchers II Thierry Notz Edward J. Pei
Photography
One False Move Carl Franklin James L. Carter
1992 Alexander Fernando
Star Time
Cassini Argüelles
Director of Additional
1993 Love, Cheat & Steal William Curran Kent L. Wakeford Photography
1998 Armageddon Michael Bay John Schwartzman
2000 Lost Souls Mauro Fiore As director
2011 The Event Feliks Parnell As director

1 episode
2014 The Divide Robert Aschman
Awards and nominations

Award W ins Nominations
Industry awards Academy Awards 2 6

Academy Award for Best Cinematography
BAFTA Film
1993: Schindler's List (won) 1 4
Awards
1997: Amistad (nomination)
1998: Saving Private Ryan (won)
ASC Awards N/A 6
2007: The Diving Bell and the Butterfly (nomination)
2011: War Horse (nomination)
César Award 1 N/A
2012: Lincoln (nomination)
American Film Institute (AFI) Awards
Independent
1 N/A
2002: A.I. Artificial Intelligence (won) Spirit Awards
2010: Franklin J. Schaffner Award (won)

American Society of Cinematographers (ASC) Award for Outstanding
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Achievement in Cinematography
1993: Schindler's List (nomination)

1997: Amistad (nomination)
1998: Saving Private Ryan (nomination)
2015: Bridge of Spies (nomination)
1993: Schindler's List (won)

British Society of Cinematographers Award for Best Cinematography

Camerimage
1998: Saving Private Ryan − Golden Frog (nominated)

2002: Atlas Award (won)
2007: The Diving Bell and the Butterfly − Golden Frog (won)
Cannes Film Festival
2007: The Diving Bell and the Butterfly − Vulcan Prize for the Technical Artist (won)
César Award for Best Cinematography

Hollywood Film Awards
2002: Outstanding Achievement in Cinematography

2015: Bridge of Spies (won)
Independent Spirit Award for Best Cinematography
2007: The Diving Bell and the Butterfly (won)

Palm Springs International Film Festival
2000: Da Vinci's Cinematographer's Award (won)

1997: Amistad (won)

2002: Minority Report (nomination)
2005: Munich (nomination)
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2011: War Horse (won)
Stockholm International Film Festival
Critics awards
Alliance of Women Film Journalists
2002: A.I. Artificial Intelligence - Cinematographer of the Year (won)

Boston Society of Film Critics Award for Best Cinematography

Broadcast Film Critics Association
2011: War Horse (won) - Critics Choice Award for Best Cinematography
2012: Lincoln (nomination) - Critics Choice Award for Best Cinematography
Chicago Film Critics Association Award for Best Cinematography

2001: A.I. Artificial Intelligence (nomination)
2002: Minority Report (nomination)
2005: Munich (nomination)
Dallas–Fort Worth Film Critics Association Award for Best Cinematography

Florida Film Critics Circle Award for Best Cinematography

Houston Film Critics Society Award for Best Cinematography

IndieWire Critic's Poll
2007: The Diving Bell and the Butterfly (nomination) - Best Cinematography
International Online Film Critics' Poll
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2002: Minority Report (nomination) - INOCA Award for Best Cinematography

2007: The Diving Bell and the Butterfly (nomination) - INOCA Award for Best Cinematography
Los Angeles Film Critics Association Award for Best Cinematography

National Society of Film Critics Award for Best Cinematography

New York Film Critics Circle Award for Best Cinematographer

St. Louis Film Critics Association Award for Best Cinematographer

References
1. "Can Kaminski clinch Oscar for Lincoln?" (http://www.thenews.pl/1/11/Artykul/128033,Can-Kaminski-clinch-
Oscar-for-Lincoln). Polskie Radio. February 22, 2013. Retrieved February 27, 2013.
2. "Spot On: Mauro Fiore" (http://cms.colum.edu/demo/2010/01/spot_on_mauro_fiore_87.php) Archived
(https://web.archive.org/web/20120909213513/http://cms.colum.edu/demo/2010
/01/spot_on_mauro_fiore_87.php) 2012-09-09 at the Wayback Machine., Demo, January 2010, Columbia
College, Chicago
3. "RECENT AFI ALUMNI AND FELLOW AWARDS & HONORS" (http://www.afi.com/conservatory/alumni
/awards.aspx), AFI Conservatory website
4. He Makes It Look Picture-perfect, Los Angeles Times, November 21, 2007 (http://articles.latimes.com
/2007/nov/21/news/en-januszQA21)
5. "Janusz Kaminski (1959–)" (http://www.filmreference.com/film/61/Janusz-Kaminski.html). Filmreference.
Retrieved 2009-08-05.
6. Mamelstein, David (February 20, 2013). "Spielberg's Eye" (https://www.wsj.com/articles
/SB10001424127887323495104578313910088529212). Wall Street Journal. Retrieved February 27, 2013.
7. Sullivan, Michael (June 10, 2010). "AFI awards Kaminski" (http://www.variety.com/article/VR1118020484
/?refCatId=1). Variety. Reed Business Information. Retrieved February 27, 2013.
8. "Rebecca Rankin and Janusz Kaminski" (http://www.variety.com/article/VR1117900239/). Variety. Reed
Business Information. February 16, 2004. Retrieved February 27, 2013.
External links
Janusz Kamiński (https://www.imdb.com/name/nm0001405/) on IMDb
Janusz Kamiński (http://www.culture.pl/web/english/resources-film-full-page/-/eo_event_asset_publisher
/eAN5/content/janusz-kaminski) at culture.pl
10 of 11 10/7/2018, 1:58 PM
Retrieved from "https://en.wikipedia.org/w/index.php?title=Janusz_Kamiński&oldid=851248492"
This page w as last edited on 21 July 2018, at 01:47 (UTC).
11 of 11 10/7/2018, 1:58 PM
Maryse Alberti - Wikipedia https://en.wikipedia.org/wiki/Maryse_Alberti
Maryse Alberti
Maryse Alberti (born March 10, 1954) is a French cinematographer who
Maryse Alberti
mainly works in the United States on independent fiction films and vérité,
observational documentaries.[1] Alberti has won awards from the Sundance Born 10 March 1954
Film Festival and the Spirit Awards. She was the first contemporary female Langon, France
cinematographer featured on the cover of American Cinematographer for Occupation Cinematographer
her work on Todd Haynes' Velvet Goldmine.[2] Childre n 1
Contents
Early life
Career
On being a woman in a male-dominated field
Filmography
Aw ards and nominations
References
External links
Early life
Alberti was born in Langon, France. At the age of 19 in 1973, Alberti traveled to New York City planning to see Jimi
Hendrix in concert, but only discovered of his death after her arrival. Instead of returning to France, she hitchhiked
around the US for three years before she settled in New York City.[3] There, she began a job as an au pair before turning
to film.[2]
Career
In a podcast interview with Movie Geeks United!, Alberti states that she never attended film school. [4] She first landed
in the film industry as a still photographer for porn films. [2] In 1982, after having worked on enough film sets and
getting to know people within the industry, she persuaded the filmmakers of the small punk film-noir film Vortex
(1982) to let her be an assistant to the cinematographer. At the time, she had known nothing about film-making and
was trained by the film's cinematographer, Steven Fierberg. [2]
Alberti began her cinematography career working for the film company, Apparatus, run by short-film director
Christine Vachon. The first full-length documentary she shot was Stephanie Black's H-2 Worker (1990). She won her
first Sundance Film Festival award as a cinematographer for this film. [4] She secured her career after being hired for
Todd Haynes' controversial pseudo-documentary feature film Poison (1991). [5]
The cinematographer is most famous for shooting both feature films and small 16mm documentaries- her favourite
camera being an Aaton 16 mm camera. [2] She has voiced that her favourite genre of film is documentary because she
1 of 5 10/7/2018, 1:59 PM
finds there is "always an adventure [and] a lesson" with this medium and she enjoys learning how to use simple tools
and work with small groups of people. [4]
Alberti's first big budget film was Haynes' Velvet Goldmine (1998) with a spending allowance of $8 million. Working
on this film also consisted of her first time having to use a camera operator. [2]
In June 2006, Alberti traveled to Germany to film portions of the FIFA World Cup for scenes to be shown in Michael
Apted's soccer documentary The Power of the Game (2007). [5]
A more recent work includes Darren Aronofsky's wrestling drama, The Wrestler (2008), starring Mickey Rourke.
Aronofsky hired Alberti as the cinematographer due to her documentary background. Prior to working on this film,
Alberti had no knowledge or experience with wrestling so she would study the sport by attending wrestling matches
with members of the crew every Saturday night for a period of time. She revealed that viewing the sport in person was
helpful to see the world of wrestling. The director and her decided on a "naturalist look"; her aim was to "make [the
film style] work for the drama of the film and keep it as natural as possible" in order to let the viewer feel like they were
in a "real [wrestling] place". Important film elements, styles, and techniques were decided between Alberti and the
director including an aspect ratio of 2.4:1 in order to capture the wrestling ring, fans, and the arena which they decided
were very valuable to the sport. Alberti also used a handheld camera for the action scenes and shot in 16mm film to, as
she states in an interview with MovieMaker, "[embrace] a slightly grainy, edgier look". She used the Arriflex 416
camera and Kodak Vision3 500T color negative film 7219. [6]
In 2013, her photography series called The Pool Series was featured in the gallery 'Show Room' located in Brookyln,
New York. Alberti has stated that she could not see what she was photographing and could "only anticipate what the
next fragment of time might look like" and thus aimed to create an "artistic anticipation". [7]
On being a woman in a male-dominated field

Alberti has discussed that being a woman in a field of work that mainly consists of men has not hindered her career
and success. In an interview with the Los Angeles Times, she mentions that in the beginning of her career crew
members would tease her for being a petite woman working a physically demanding job. In response, she would reply
with "The little lady doesn't carry the big lights. She points and the big guys carry the lights". [3]
Filmography
Double Negative (Sam Irvin, 1985)
H-2 Worker (Stephanie Black, 1990)
The Golden Boat (Raúl Ruiz, 1990)
Poison (Todd Haynes, 1991)
Zebrahead (Anthony Drazan, 1992)
Confessions of a Suburban Girl (Susan Seidelman, 1992)
Incident at Oglala (Michael Apted, 1992)
Mob Stories (Marc Levin, 1993)
I Am a Sex Addict (Vikram Jayanti & John Powers, 1993)
Dottie Gets Spanked (Todd Haynes, 1993)
Deadfall (Christopher Coppola, 1993)
The Dutch Master (Susan Seidelman, 1994)
Crumb (Terry Zwigoff, 1994)
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Moving the Mountain (Michael Apted, 1994)

Harlem Diary: Nine Voices of Resilience (Jonathan Stack, 1995)
Dear Diary (David Frankel, 1996)
When We Were Kings (Leon Gast, 1996)
I Love You, I Love You Not (Billy Hopkins, 1996)
Stag (Gavin Wilding, 1997)
Inspirations (Michael Apted, 1997)
Happiness (Todd Solondz, 1998)
Velvet Goldmine (Todd Haynes, 1998)
Sex and the City: episodes "Models and Mortals" & "Valley of the Twenty-Something Guys" (Alison
Maclean, 1998)
Me & Isaac Newton (Michael Apted, 1999)
Joe Gould's Secret (Stanley Tucci, 2000)
Twilight: Los Angeles (Marc Levin, 2000)
Tape (Richard Linklater, 2001)
Get Over It (Tommy O'Haver, 2001)
Feast of Death (Vikram Jayanti, 2001)
The Guys (Jim Simpson, 2002)
Game Over: Kasparov and the Machine (Vikram Jayanti, 2003)
We Don't Live Here Anymore (John Curran, 2004)
Enron: The Smartest Guys in the Room (Alex Gibney, 2005)
No Direction Home (Martin Scorsese, 2005)
A Journey That Wasn't (Pierre Huyghe, 2006)
All Aboard! Rosie's Family Cruise (Shari Cookson, 2006)
Hidden Inside Mountains (Laurie Anderson, 2006)
The Human Behavior Experiments (Alex Gibney, 2006)
Taxi to the Dark Side (Alex Gibney, 2007)
The Power of the Game (Michael Apted, 2007)
In God's Name (Naudet brothers, 2007)
The Onion Movie (Tom Kuntz & Mike Maguire, 2008)
Gonzo: The Life and Work of Dr. Hunter S. Thompson (Alex Gibney, 2008)
Soul Masters: Dr. Guo and Dr. Sha (Sande Zeig, 2008)
The Wrestler (Darren Aronofsky, 2008)
Casino Jack and the United States of Money (Alex Gibney, 2010)
Truth in Motion (Brett Morgan, 2010)
My Trip to Al Qaeda (Alex Gibney, 2010)
The Agony and the Ecstasy of Phil Spector (Vikram Jayanti, 2010)
Stone (John Curran, 2010)
Client 9: The Rise and Fall of Eliot Spitzer (Alex Gibney, 2010)
Apache 8 (Sande Zeig, 2011)
West of Memphis (Amy J. Berg, 2012)
Love, Marilyn (Liz Garbus, 2012)
History of the Eagles (Alison Ellwood, 2013)
We Steal Secrets: The Story of WikiLeaks (Alex Gibney, 2013)
John Leguizamo's Ghetto Klown (Fisher Stevens, 2014)
Documentary TV series Years of Living Dangerously (2014-2016)
30 for 30 Shorts: episode "Fields of Fear" (Alex Gibney, 2014)
The Visit (M. Night Shyamalan, 2015)
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Freeheld (Peter Sollett, 2015)

Creed (Ryan Coogler, 2015)
Documentary TV series Cooked: episode "Fire" (Alex Gibney, 2016)
Collateral Beauty (David Frankel, 2016)
Chappaquiddick (John Curran, 2017)
Documentary TV series Dirty Money: episode "Hard NOx" (Alex Gibney, 2018)
Awards and nominations

1990 Sundance Film Festival Excellence in Cinematography Award Documentary - H-2 Worker (1990) [8]
1995 Sundance Film Festival Excellence in Cinematography Award Documentary- Crumb (1994) [9]
1999 Independent Spirit Award Best Cinematography- Velvet Goldmine (1998) [6]
2004 Independent Spirit Award- We Don't Live Here Anymore (2004) [10]
2006 Women in Film Crystal + Lucy Awards Kodak Vision Award [10]
2006 Primetime Emmy Award nomination for Cinematography for Nonfiction Programming (Single
Camera)- All Aboard! Rosie's Family Cruise (2006) [11]
2009 Independent Spirit Award Best Cinematography- The Wrestler (2008) [6]
References
1. "Maryse Alberti- IMDb" (https://www.imdb.com/name/nm0016662/). Internet Movie Database Article. IMDB.
Retrieved 4 August 2011.
2. Lee, Linda. "Framing a Vision, Invisibly Maryse Alberti, an Independent Force in Independent Films"
(https://www.nytimes.com/1998/12/10/movies/framing-vision-invisibly-maryse-alberti-independent-force-
independent-films.html). The New York Times. The New York Times Company. Retrieved 5 April 2015.
3. Chabria, Anita. "Now it's a co-ed sport" (http://articles.latimes.com/2008/dec/10/news/en-women10). Los
Angeles Times. Los Angeles Times. Retrieved 5 April 2015.
4. "MGU Interview: Cinematographer Maryse Alberti" (https://www.youtube.com/watch?v=XTLgap5DA9I).
Youtube. Movie Geeks United!. Retrieved 5 April 2015.
5. Nelson, Steffie. "D.p. makes mark in mostly man's world" (https://variety.com/2006/film/features/maryse-
alberti-1200338363/). Variety. Variety Media.
6. Fisher, Bob. "Maryse Alberti Captures the Spirit of The Wrestler" (http://www.moviemaker.com/articles-
moviemaking/maryse-alberti-the-wrestler-spirit-award-20090319/). MovieMaker. MovieMaker Magazine.
Retrieved 5 April 2015.
7. "SHOW ROOM presents... Maryse Alberti: The Pool Series" (http://www.showroom170.com
/marysealbertipr.html). Show Room Gowanus. Show Room Gowanus.
8. "1990 Sundance Film Festival" (http://history.sundance.org/events/25). Sundance. Sundance Institute.
9. "1995 Sundance Film Festival" (http://history.sundance.org/events/30). Sundance. Sundance Institute.
10. "Alberti feted at women in film celebration" (http://motion.kodak.com/motion/uploadedFiles/mAlberti.pdf)
(PDF). Kodak. Kodak. Retrieved 5 April 2015.
11. "2006 Emmy nominations list – part 2" (https://variety.com/2006/film/news/2006-emmy-nominations-list-
part-2-1200340637/). Variety. Variety Media.
External links
Making the Wrestler Real (http://www.movingimagesource.us/articles/making-the-wrestler-real-20090213) at
4 of 5 10/7/2018, 1:59 PM
Moving Image Source
Retrieved from "https://en.wikipedia.org/w/index.php?title=Maryse_Alberti&oldid=862640465"
5 of 5 10/7/2018, 1:59 PM
Roger Deakins - Wikipedia https://en.wikipedia.org/wiki/Roger_Deakins
Roger Deakins
Roger Alexander Deakins CBE, ASC, BSC (born May 24, 1949) is
Roger Deakins
an English cinematographer best known for his work on the films of
CBE
the Coen brothers, Sam Mendes, and Denis Villeneuve. Deakins is a
member of both the American and British Society of
Cinematographers. He received the 2011 American Society of
Cinematographers (A.S.C.) Lifetime Achievement Award.[2] Its
president, Richard Crudo, called Deakins "the pre-eminent
cinematographer of our time."[3]
In recognition of outstanding contribution to the British film

industry, Deakins is an honorary fellow of the National Film School
in Buckinghamshire of which he is an alumnus. In 2013 he received a
CBE at Buckingham Palace for "services to film." A recipient of four
BAFTA Awards for Best Cinematography, Deakins has received
fourteen nominations and one win for the Academy Award for Best
Deakins at the 83rd Academy Aw ards in
Cinematography. His most well-known works include The
February 2011.
Shawshank Redemption, Fargo, A Beautiful Mind, Skyfall, Sicario,
and Blade Runner 2049, the latter of which won him his first Born Roger Alexander
Academy Award. Deakins
24 May 1949
Torquay, Devon,
England, United Kingdom
Contents Nationality British
Early life
Othe r nam e s Roger A. Deakins, Matt
Career Campbell
Documentaries
Feature films Occupation Cinematographer
Personal life Ye ars active 1982–present
Filmography Spous e (s ) Isabella James Puref oy

Ellis [1] (m. 1991)
References
External links
Early life
Deakins was born in Torquay in the English county of Devon, the son
of Josephine (née Messum), an actress, and William Albert Deakins,
a builder.[1] He attended Torquay Boys' Grammar School. While
growing up in Torquay, Deakins spent most of his time in and out of
school focusing on his primary interest: painting. Several years later
1 of 11 10/7/2018, 1:59 PM
he enrolled in the Bath School of Art and Design (in the city of Bath) Aw ards Academy Aw ard for
where he studied graphic design. While studying in Bath, he
Best Cinematography
discovered his love of photography. He proved to be a very talented
2018 Blade Runner 2049
photographer, and this led to his being hired to create a photographic
documentary of his home town, Torquay. About a year later, Deakins BAFTA Aw ard for Best
transferred to the National Film and Television School in Cinematography
Buckinghamshire.[4] 2008 No Country for Old
Men
Career 2011 True Grit

Inde pe nde nt Spirit

Documentaries
Aw ard for Be s t
Shortly after graduating, Deakins found work as a cameraman, Cine m atography
assisting in the production of documentaries in various locations 1997 Fargo
abroad for approximately seven years. During this seven-year stint, 2009 A Serious Man
his first project involved a nine-month trip as one of the entrants of a
'round-the-world yacht race called Around the World with Ridgway. This project captured the lives and growing
tensions between several of the yacht's crewmen. After completing Around the World with Ridgway, Deakins was
hired by television studios to film several documentaries in Africa. His first, Zimbabwe, was a depiction of the genocide
that had been going on there, following Zimbabwe's civil war. His second, Eritrea – Behind Enemy Lines, was another
depiction of conflict, this time within the borders of Sudan, Ethiopia and Djibouti.
From the time of his work in Africa until the early 1980s, Deakins continued his cinematographic and directorial work
in documentaries as well as the burgeoning field of music videos. His early work as both a director and
cinematographer of music videos including a lot of the early Madness videos. Carl Perkins' "Blue Suede Shoes" and the
concert film Van Morrison in Ireland. Subsequently, he worked on Towers of Babel, Sid and Nancy, The Kitchen Toto,
and Pascali's Island.
Feature films
Deakins' first feature film in America as cinematographer was Mountains of the Moon (1990). He began his
collaboration with the Coen brothers in 1991 on the film Barton Fink (the director Barry Sonnenfeld worked as
cinematographer on the Coen brothers' previous three films Blood Simple, Raising Arizona, and Miller's Crossing).
Since then, Deakins has been the Coens' main cinematic collaborator and has been their principal cinematographer.
Deakins received his first major award from the American Society of Cinematographers for his outstanding
achievement in cinematography for the internationally praised major motion picture The Shawshank Redemption. The
ASC continued to honour Deakins with outstanding achievement nominations for his later works, including Fargo,
Kundun, O Brother, Where Art Thou?, and The Man Who Wasn't There, for which he won his second ASC Award. The
U.S. National Board of Review of Motion Pictures honored him with an award for Career Achievement in
Cinematography in 2007.[5]
In 2008, Deakins became the first cinematographer in history to receive dual ASC nominations for his works The
Assassination of Jesse James by the Coward Robert Ford and No Country for Old Men. The latter won the BAFTA
Award for Best Cinematography and he received Academy Award nominations for both films. In 2009, he was double-
2 of 11 10/7/2018, 1:59 PM
nominated for the ASC Award again for Revolutionary Road and The Reader (with Chris Menges).[6] In 2011, he was
nominated again for his work on True Grit and also received an ASC Lifetime Achievement Award.
Deakins signed on as cinematographer for Skyfall, having previously worked with director Sam Mendes on Jarhead
and Revolutionary Road.[7] For his work, he received his third ASC Award for outstanding achievement in
cinematography from his ninth ASC Award nomination. Deakins also worked as one of the visual consultants for the
Pixar's animated feature WALL-E, DreamWorks Animation's How to Train Your Dragon, and Nickelodeon Movies'
Rango. In 2018, he received his fourth ASC award, his fourth BAFTA award, and his first Academy Award for Blade
Runner 2049, directed by Denis Villeneuve. That year, he filmed an adaptation of The Goldfinch, based on the novel of
the same name, directed by John Crowley.[8]
Deakins was appointed Commander of the Order of the British Empire (CBE) in the 2013 Birthday Honours for
services to film.[9]
Personal life
Deakins married script supervisor Isabella James Purefoy Ellis, professionally known as James Ellis, on 11 December
1991.[10] He lives in his home county Devon in the south west of England.[11] Deakins' primary hobby is taking still
photographs. Before he entered the National Film School in Buckinghamshire he spent a year in North Devon,
documenting the way of life on the farms and in the villages. This cemented his passion for still photography that
continues to this day. On the rare days that he is not in his boat while in Devon, Deakins enjoys travelling to various
places to augment his growing series of images.[11]
Filmography
Key
Denotes films that have not yet been released
3 of 11 10/7/2018, 1:59 PM
Year Title Director Notes
Another Time, Another Michael

1983 1st of 3 collaborations with Radford
Place Radford
Michael
Nineteen Eighty-Four
1984 Radford
Return to Waterloo Ray Davies
Defence of the Realm David Drury

1985
Shadey Philip Saville
1986 Sid and Nancy Alex Cox
Personal Services Terry Jones

1987 Michael
White Mischief
Radford
Pascali's Island James Dearden
1988 Stormy Monday Mike Figgis
The Kitchen Toto Harry Hook
Roger
Air America
Spottiswoode
1990
Mountains of the Moon Bob Rafelson
The Long Walk Home Richard Pearce
1st of 12 collaborations with the Coens

Chicago Film Critics Association Award for Best
Cinematography
Los Angeles Film Critics Association Award for
Ethan & Joel
Barton Fink Best Cinematography
Coen
Nominated – National Society of Film Critics
1991 Award for Best Cinematography
New York Film Critics Circle Award for Best
Cinematography

Best Cinematography
Homicide David Mamet
Nominated – Independent Spirit Award for Best
Cinematography
Passion Fish John Sayles

1992
Thunderheart Michael Apted
Agnieszka
1993 The Secret Garden
Holland
Ethan & Joel

The Hudsucker Proxy
Coen
Nominated – Academy Award for Best

1994 Cinematography
The Shawshank Nominated – American Society of
Frank Darabont
Redemption Cinematographers Award for Outstanding
Achievement in Cinematography in Theatrical
4 of 11 10/7/2018, 1:59 PM
Releases
1995 Dead Man Walking Tim Robbins
Courage Under Fire Edward Zwick 1st of 2 collaborations with Zwick

Cinematography
Nominated – American Society of
Cinematographers Award for Outstanding
1996 Ethan & Joel Releases
Fargo
Coen Nominated – BAFTA Award for Best
Cinematography
Nominated – Chicago Film Critics Association
Award for Best Cinematography
Nominated – Independent Spirit Award for Best
Cinematography
Boston Society of Film Critics Award for Best

Cinematography
National Society of Film Critics Award for Best
Cinematography
New York Film Critics Circle Award for Best
Cinematography
Martin Nominated – Academy Award for Best
1997 Kundun
Scorsese Cinematography
Releases
Ethan & Joel

The Big Lebowski
1998 Coen
The Siege Edward Zwick
Anywhere but Here Wayne Wang

1999 Norman
The Hurricane 1st of 2 collaborations with Jewison
Jewison

Cinematography
Ethan & Joel Releases
2000 O Brother, Where Art Thou?
Coen Nominated – BAFTA Award for Best
Cinematography
Nominated – Online Film Critics Society Award for
Best Cinematography
2001 A Beautiful Mind Ron Howard
5 of 11 10/7/2018, 1:59 PM
Norman
Dinner with Friends
Jewison
American Society of Cinematographers Award for

Outstanding Achievement in Cinematography in
Theatrical Releases
Cinematography
Florida Film Critics Circle Award for Best
Cinematography
Best Cinematography
Online Film Critics Society Award for Best
Ethan & Joel
The Man Who Wasn't There Cinematography
Coen
San Diego Film Critics Society Award for Best
Cinematography
Cinematography
Nominated – New York Film Critics Circle Award
for Best Cinematography
Vadim
House of Sand and Fog
Perelman
2003 Ethan & Joel

Intolerable Cruelty
Coen
Levity Ed Solomon
Ethan & Joel

The Ladykillers
Coen
2004
M. Night
The Village
Shyamalan
2005 Jarhead Sam Mendes 1st of 3 collaborations with Mendes
In the Valley of Elah Paul Haggis

Cinematography
Cinematography
2007 Ethan & Joel Cinematography
No Country for Old Men Nominated – Academy Award for Best
Coen
Cinematography
Releases
6 of 11 10/7/2018, 1:59 PM

Nominated – Houston Film Critics Society Award
Nominated – St. Louis Gateway Film Critics
Association Award for Best Cinematography

Cinematography
Cinematography
Houston Film Critics Society Award for Best
Cinematography
St. Louis Gateway Film Critics Association Award
The Assassination of Jesse
Andrew Cinematography
James by the Coward
Dominik Nominated – American Society of
Robert Ford
Releases
Nominated – Boston Society of Film Critics Award
Best Cinematography
Nominated – Satellite Award for Best
Cinematography
John Patrick
Doubt
Shanley

Releases
Revolutionary Road Sam Mendes
2008 Association Award for Best Cinematography
Co-cinematographer with Chris Menges

Cinematography
The Reader Stephen Daldry Cinematographers Award for Outstanding
Releases
Nominated – BAFTA Award for Best
Cinematography
San Francisco Film Critics Circle Award for Best

Cinematography
Ethan & Joel for Best Cinematography
2009 A Serious Man
Coen Nominated – Independent Spirit Award for Best
Cinematography
Nominated – New York Film Critics Circle Award
7 of 11 10/7/2018, 1:59 PM

Best Cinematography
Cinematography
The Company Men John Wells

Cinematography
Cinematography
Cinematography
Cinematography
2010 Cinematographers Award for Outstanding
Ethan & Joel
True Grit Achievement in Cinematography in Theatrical
Coen
Releases
Nominated – Critics' Choice Movie Award for Best
Cinematography
Nominated – Los Angeles Film Critics Association
Nominated – Washington D.C. Area Film Critics
2011 In Time Andrew Niccol

Theatrical Releases
Cinematography
Cinematography
Best Cinematography
Cinematography
2012 Skyfall Sam Mendes for Best Cinematography
Cinematography
Cinematography
Cinematography
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Cinematography
1st of 3 collaborations with Villeneuve

Cinematography
Releases
Denis
2013 Prisoners Cinematography
Villeneuve
Nominated – San Diego Film Critics Society
Cinematography

Cinematography
Releases
Cinematography
2014 Unbroken Angelina Jolie

Cinematography
Cinematography
Releases
Denis Cinematography
2015 Sicario
Villeneuve Nominated – Critics' Choice Movie Award for Best
Cinematography
Nominated – Florida Film Critics Circle Award for
Best Cinematography
9 of 11 10/7/2018, 1:59 PM
Best Cinematography
Nominated – San Francisco Film Critics Circle
Cinematography
Ethan & Joel Nominated – St. Louis Gateway Film Critics

2016 Hail, Caesar!
Coen Association Award for Best Cinematography
Academy Award for Best Cinematography

Theatrical Releases
Critics' Choice Movie Award for Best
Cinematography
Cinematography
Cinematography
Cinematography
Denis Cinematography
Villeneuve Online Film Critics Society Award for Best
Cinematography
San Francisco Film Critics Circle Award for Best
Cinematography
Washington D.C. Area Film Critics Association
Nominated – Los Angeles Film Critics Association
2019 The Goldfinch John Crowley Post-production
References
1. "Roger Deakins Biography" (http://www.filmreference.com/film/71/Roger-Deakins.html). filmreference. 2008.
Retrieved 1 September 2008.
2. "Roger Deakins Will Receive The 2011 American Society of Cinematographers (ASC) Lifetime Achievement
Award" (http://wearemoviegeeks.com/2010/10/roger-deakins-will-receive-the-2011-american-society-of-
cinematographers-asc-lifetime-achievement-award/). wearemoviegeeks.com. Retrieved 22 December 2010.
3. "Cinematographer Roger Deakins Takes Visceral Approach To His Craft" (https://variety.com/2015/film
/features/cinematographer-roger-deakins-takes-visceral-approach-to-his-craft-1201593464/). Variety. 4
October 2017.
10 of 11 10/7/2018, 1:59 PM
4. "CBE For NFTS Alumnus" (https://nfts.co.uk/news/cbe-nfts-alumnus). National Film and Television School. 4
October 2017.
5. "2007 Award Winners" (http://www.nationalboardofreview.org/award-years/2007/). National Board of Review
of Motion Pictures. 2016. Retrieved October 28, 2016.
6. American Society of Cinematographers (7 January 2009). "ASC Names Feature Film Nominees"
(https://web.archive.org/web/20090129143457/http://ascmag.com/news/News_Articles/News_200.php).
Archived from the original (http://www.ascmag.com/news/News_Articles/News_200.php) on 29 January 2009.
Retrieved 11 January 2009.
7. "Roger Deakins confirms James Bond 23 involvement" (http://www.mi6-hq.com
/news/index.php?itemid=9414&t=mi6&s=news). MI6-HQ.com. 1 May 2011. Retrieved 1 May 2011.
8. Sharf, Zack. "Roger Deakins is Following 'Blade Runner 2049' With 'The Goldfinch' - IndieWire"
(http://www.indiewire.com/2017/10/roger-deakins-the-goldfinch-dune-denis-villeneuve-blade-runner-
2049-1201883709/). www.indiewire.com.
9. "No. 60534" (https://www.thegazette.co.uk/London/issue/60534/supplement/7). The London Gazette
(Supplement). 15 June 2013. p. 7.
10. "Roger Deakins" (https://www.imdb.com/name/nm0005683/bio?ref_=nm_ov_bio_sm). IMDb.
11. "Roger Deakins: Devon's movie maestr" (http://www.devonlife.co.uk/people/roger-deakins-devon-s-movie-
maestro-1-5089292). Devon Life. 4 October 2017.
External links
Roger Deakins (https://www.imdb.com/name/nm0005683/) on IMDb
Video interview with Roger Deakins (http://www.filmdetail.com/2011/07/23/roger-deakins-talks-to-the-bsc/),
FILMdetail
Filmed interview with Roger Deakins on The Reel Show (http://www.reel-show.tv)
I just had to pinch myself (http://www.itvlocal.com/westcountry/news/?player=WCT_home_26&
void=155067), interview with Roger Deakins on ITV Local Westcountry
Information on Roger Deakins at the International Cinematographers Guild (https://web.archive.org
/web/20090228171456/http://www.cameraguild.com
/index.html?interviews%2Fchat_deakins%2Findex.htm~top.main_hp)
An interview with Roger Deakins (https://web.archive.org/web/20080106091842/http://www.indigestmag.com
/deakins1.htm) from InDigest Magazine (https://web.archive.org/web/20110212033107/http:
//indigestmag.com/)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Roger_Deakins&oldid=862096729"
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Interesting List of Cinematographers

10 > Billy Bitzer

9 > Gregg Toland

8 > Robert Burks

7 > Freddie Young

6 > Vittorio Storaro

5 > Sven Nykvist

4 > Kazuo Miyagawa

3 > Janusz Kamiński

2 > Maryse Alberti

1 > Roger Deakins

Prior to his career as a cameraman, working as a motion picture

the fade out to close a movie scene;

2 A. M. in the Subway (1905)

1. Musser, Charles, The Emergence of

Cameraman G. W. "Billy" Bitzer and director D. W. Griffith on

/Top+10+Most+Influential+Cinematographers+Voted+on+by+Camera+Guild.-a0108995062) Retrieved January 28,

G.W. Bitzer (https://www.imdb.com/name/nm0005658/) on IMDb

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Contributions on Citizen Kane

Innovations in The Long Voyage Home (1940) and

Citizen Kane (1941)

Deep focus technique and lighting schemes

Optical print shots and in-camera composites on Citizen

Similarities between Citizen Kane and The Long Voyage

Other important works

Service during World War II

Toland was the subject of an "Annals of Hollywood" article in The New

Academy Award nominations

Roman Scandals (1933)

Retrieved from "https://en.wikipedia.org/w/index.php?title=Gregg_Toland&oldid=862768996"

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honest, straightforward, resourceful and, in the true sense, a gentlemen." [4]

Cinematography in The Wrong Man (1956)

Cinematography in The Birds (1963)

Cinematography in Marnie (1964)

Burks and Hitchcock

Don Siegel: Hitler Lives! and Star in the Night

King Vidor: The Fountainhead and Beyond the Forest

John Farrow: Hondo, The Boy from Oklahoma

Robert Mulligan: The Rat Race and The Great Imposter

Other Important Works

Films as Special Effects Photographer[2]

In This Our Life, 1942

To Catch a Thief, 1955

Nominee - Best Color Photography Rear Window 1954

Winner - Best Color Photography To Catch a Thief 1955

Nominee - Best Black and White Photography A Patch of Blue 1965

External links and further reading

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The Chance of a Night Time (1931)

Invitation to the Dance (1956)

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Career Born June 24, 1940

References Education Centro Sperimentale

External links Occupation Cinematographer

He first worked with Bertolucci on The Conformist (1970). Set in Fascist

Italy, the film has been described as a "visual masterpiece."[6] Aw ards

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