DP Watchlist
A list of cinematographers whose work I need to watch
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- Cinematographer
- Director
- Actor
Sven Nykvist was considered by many in the industry to be one of the world's greatest cinematographers. During his long career that spanned almost half a century, Nyvist perfected the art of cinematography to its most simple attributes, and he helped give the films he had worked on the simplest and most natural look imaginable. Indeed, Mr. Nykvist prided himself on the simplicity and naturalness of his lighting schemes. Nykvist used light to create mood and, more significantly, to bring out the natural flesh tones in the human face so that the emotion of the scene could be played out on the face without the light becoming intrusive.
Nykvist entered the Swedish film industry when he was 19 and worked his way up to becoming a director of photography. He first worked with the legendary Swedish director Ingmar Bergman on the film Sawdust and Tinsel (1953), but his collaboration with Bergman began in earnest with The Virgin Spring (1960). From that point on, Nykvist replaced the great Gunnar Fischer as Bergman's cameraman, and the two men started a collaboration that would last for a quarter of a century. The switch from Fischer to Nykvist created a marked difference in the look of Bergman's films. In many respects, it was like the difference between Caravaggio and Rembrandt. Fischer's lighting was a study in light and darkness, while Nykvist preferred a more naturalistic, more subtle approach that in many ways relied on the northern light compositions of the many great Scandinavian painters.
Nykvist's work with Bergman is one of the most glorious collaborations in movie history. Nykvist created a markedly different look for each installment of Bergman's Faith Trilogy. Through a Glass Darkly (1961) had an almost suffocating quality to it, and The Silence (1963) hearkened back to the days of German Expressionism. Winter Light (1963), the middle part of the trilogy, may very well be the most perfect work of Nykvist's repertoire. Having studied the light in a real provincial church carefully, he then recreated the subtle changes in the light as the day went on on a Stockholm sound stage. Indeed, it's hard to believe that the film was shot on a stage and not in a real church in Northern Sweden. For Persona (1966), Nykvist relied heavily on Sweden's famous Midnight Sun. In The Passion of Anna (1969), Nykvist was able to capture the chilly, soggy, and melancholy look of Faro, one of Nykvist's first color films. Both Nykvist and Bergman were both very reluctant to film in color. He created a fascinating study of white and red in Cries & Whispers (1972), for which Nykvist won an Oscar. He won an Oscar again for the last feature-length theatrical film that Bergman made, Fanny and Alexander (1982).
During the late 1970s, Nykvist began making films elsewhere in Europe and in the United States, working for directors such as Louis Malle (Pretty Baby (1978)), Philip Kaufman (The Unbearable Lightness of Being (1988)), Bob Fosse (Star 80 (1983)), Nora Ephron (Sleepless in Seattle (1993)), Woody Allen (Another Woman (1988), Crimes and Misdemeanors (1989)), Richard Attenborough (Chaplin (1992)), and fellow Swede Lasse Hallström (What's Eating Gilbert Grape (1993)). The documentary Ljuset håller mig sällskap (2000) paid homage to Nykvist, although it does not grant us any real secrets about his working methods. Nykvist died in 2006.- Sawdust and Tinsel
- The Virgin Spring *
- All These Women
- Hour of the Wolf
- Shame *
- The Passion of Anna
- The Touch
- Black Moon
- Face to Face *
- The Serpent's Egg
- Fanny and Alexander *
- Cinematographer
- Camera and Electrical Department
- Additional Crew
Roger Deakins is an English cinematographer best known for his work on the films of the Coen brothers, Sam Mendes, and Denis Villeneuve.
He is a member of both the American and British Society of Cinematographers.
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. He 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 (1994).
He is also known for his work in The Assassination of Jesse James by the Coward Robert Ford (2007), No Country for Old Men (2007), True Grit (2010), Skyfall (2012), Sicario (2015), and Blade Runner 2049 (2017).
Deakins also worked as one of the visual consultants for Pixar's animated feature WALL-E.
In 2018 he won an Oscar for best cinematographer for his work in Blade Runner 2049.- 1984
- Sid and Nancy *
- Homicide *
- Dead Man Walking
- Kundun
- The Hurricane
- The Man Who Wasn't There *
- A Beautiful Mind
- Intolerable Cruelty
- Jarhead
- Revolutionary Road
- The Goldfinch
- Cinematographer
- Camera and Electrical Department
- Actor
Robby Müller was born on 4 April 1940 in Willemstad, Curaçao, Netherlands Antilles. He was a cinematographer and actor, known for Breaking the Waves (1996), Paris, Texas (1984) and Repo Man (1984). He died on 3 July 2018 in Amsterdam, Noord-Holland, Netherlands.- Wrong Move
- Kings of the Road *
- To Live and Die in L.A. *
- Red Hot and Blue
- Beyond the Clouds
- Breaking the Waves
- Dancer in the Dark
- 24 Hour Party People
- Cinematographer
- Director
- Actor
Michael Ballhaus was a German cinematographer. He worked on many American films, including Baby It's You (1983), Old Enough (1984), After Hours (1985), The Color of Money (1986), The Last Temptation of Christ (1988), Goodfellas (1990), Dracula (1992), The Age of Innocence (1993), Gangs of New York (2002), and The Departed (2006).
Ballhaus was nominated three times for the Academy Award for Best Cinematography, for Broadcast News (1987), The Fabulous Baker Boys (1989), and Gangs of New York (2002), but never won.
His son Florian Ballhaus is also a cinematographer who worked on Flightplan (2005) and The Devil Wears Prada (2006).
Ballhaus died on 11 April 2017, at the age of 81.- World on a Wire
- Fox and His Friends
- The Marriage of Maria Braun
- Death of a Salesman
- After Hours
- The Color of Money *
- The Last Temptation of Christ *
- Postcards from the Edge
- Bram Stoker's Dracula
- Quiz Show
- Cinematographer
- Camera and Electrical Department
Gianni Di Venanzo was born on 18 December 1920 in Teramo, Abruzzo, Italy. He was a cinematographer, known for 8½ (1963), The Girlfriends (1955) and Juliet of the Spirits (1965). He died on 3 February 1966 in Rome, Lazio, Italy.- Le Amiche *
- Il Grido *
- Big Deal on Madonna Street *
- Salvatore Giuliano
- The Moment of Truth
- Juliet of the Spirits
- Cinematographer
- Director
- Camera and Electrical Department
Gordon Willis was an American cinematographer. He's best known for his work on Francis Ford Coppola's Godfather films, as well asWoody Allen's Annie Hall (1977) and Manhattan (1979).
His work on the first two Godfather films turned out to be groundbreaking in its use of low-light photography and underexposed film, as well as in his control of lighting and exposure to create the sepia tones that denoted period scenes in The Godfather Part II (1974).
In the seven-year period up to 1977, Willis was the director of photography on six films that received among them 39 Academy Award nominations, winning 19 times, including three awards for Best Picture. During this time he did not receive a single nomination for Best Cinematography.
He directed one film of his own, Windows (1980). His last film as a cinematographer was The Devil's Own (1997), directed by Alan J. Pakula.
Willis died of cancer on May 18, 2014, ten days before his 83rd birthday, at the age of 82.- The Landlord *
- Interiors
- Comes a Horseman
- Stardust Memories
- Zelig
- The Purple Rose of Cairo
- Cinematographer
- Director
- Actor
Raoul Coutard was born on 16 September 1924 in Paris, France. He was a cinematographer and director, known for Hoa Binh (1970), Alphaville (1965) and Z (1969). He died on 8 November 2016 in Labenne, Nouvelle-Aquitaine, France.- Shoot the Piano Player
- A Woman Is a Woman
- Jules and Jim
- Vivre Sa Vie *
- Une Femme Mariee **
- Pierrot le Fou *
- Made in U.S.A
- La Chinoise *
- The Phantom Heart
- Cinematographer
- Camera and Electrical Department
Asakazu Nakai was born on 29 August 1901 in Kobe, Japan. He was a cinematographer, known for Ran (1985), Stray Dog (1949) and Seven Samurai (1954). He died on 28 February 1988.- Stray Dog
- Throne of Blood *
- High and Low*
- Red Beard *
- Dersu Uzala *
- Ran *
- Cinematographer
- Director
- Camera and Electrical Department
One of the highest appraised contemporary cinematographers. He was born in Spain but moved to Cuba by age 18 to join his exiled anti-Franco father. In Havana, he founded a cineclub and wrote film reviews. Then, he went on to study in Rome at the Centro Sperimentale. He directed six shorts in Cuba and two in New York. After the 1959 Cuban revolution, he returned and made several documentaries for the Castro-regime. But after two of his shorts (Gente en la playa (1960) and La Tumba Francesca) had been banned, he moved to Paris. There he became the favourite cameraman of Éric Rohmer and François Truffaut. In 1978, he started his impressive Hollywood-career. In his later years, he co-directed two documentaries about the human rights situation in Cuba: Improper Conduct (1984) (about the persecution of gay people) and Nadie escuchaba (1987). He shot several prestigious commercials for Giorgio Armani and Calvin Klein. Nestor Almendros died of cancer.- My Night at Maud's
- Claire's Knee *
- Chloe in the Afternoon *
- Heartburn
- Cinematographer
- Camera and Electrical Department
- Actor
Along with László Kovács, a fellow student who fled Hungary in 1956, Zsigmond rose to prominence in the 1970s. He is known for his use of natural light and vivid use of color on features such as The Long Goodbye (1973) and Close Encounters of the Third Kind (1977).- Scarecrow *
- The Sugarland Express
- Heaven's Gate
- Blow Out *
- Cinematographer
- Camera and Electrical Department
- Actor
Giuseppe 'Peppino' Rotunno entered the film industry as a still photographer at Cinecitta but lost his job due to his anti-fascist views. Conscripted and sent to Greece in 1942, he then served as a newsreel cameraman with the Italian army film unit. A year later, he was captured during the German occupation of Greece and spent two years internment in Germany. Freed by US troops in April 1945, Rotunno returned to Italy. During the following decade, he worked his way up the ladder from a humbly paid assistant cameraman to director of photography. The romantic comedy Scandal in Sorrento (1955) was the first motion picture he shot in that capacity and he has since worked with some of Italy's leading post-war directors. His most famous collaborations were with Luchino Visconti, whom he regarded as his mentor (White Nights (1957), Rocco and His Brothers (1960), The Leopard (1963)) and with Federico Fellini (Fellini Satyricon (1969), Amarcord (1973)). Rotunno acquired a well-deserved reputation for creating realistic, opulent, nostalgic or uncanny atmospheres through ingenious use of lighting techniques. His work in the international field has included the Ava Gardner starrers The Naked Maja (1958) and The Angel Wore Red (1960), Stanley Kramer's On the Beach (1959), Arthur Hiller's Man of La Mancha (1972), Bob Fosse's All That Jazz (1979) (1981 BAFTA winner and 1980 Oscar nominee) and the remake of Sabrina (1995), starring Harrison Ford. In 1966, Rotunno became the first non-US citizen admitted to join the American Society of Cinematographers. From 1988, he taught at the Centro sperimentale di cinematografia in Rome where he died on February 7 2021 at the age of 97..- Rocco and His Brothers *
- The Leopard
- Roma
- Love & Anarchy
- All That Jazz
- City of Women
- Popeye
- Cinematographer
- Camera and Electrical Department
Otello Martelli was born on 19 May 1902 in Rome, Lazio, Italy. He was a cinematographer, known for La Dolce Vita (1960), The Road (1954) and Carne de horca (1953). He died on 20 February 2000 in Rome, Lazio, Italy.- Paisan *
- Stromboli
- I Vitelloni *
- La Strada *
- La Dolce Vita **
- Cinematographer
- Camera and Electrical Department
- Director
Gunnar Fischer was born on 18 November 1910 in Ljungby, Sweden. He was a cinematographer and director, known for Wild Strawberries (1957), The Seventh Seal (1957) and Smiles of a Summer Night (1955). He was married to Gull Söderblom. He died on 11 June 2011 in Stockholm, Stockholms län, Sweden.- Port of Call
- Thirst
- To Joy
- This Can't Happen Here
- Summer Interlude
- Secrets of Women
- Summer with Monika *
- Smiles of a Summer Night
- The Magician *
- The Devil's Eye
- Cinematographer
- Camera and Electrical Department
- Actor
Vittorio Storaro, the award-winning cinematographer who won Oscars for "Apocalypse Now (1979)", "Reds (1981)" and "The Last Emperor (1987)". He was born on June 24, 1940 in Rome, where his father was a projectionist at the Lux Film Studio. At the age of 11, he began studying photography at a technical school. He enrolled at C.I.A.C (Italian Cinemagraphic Training Centre) and subsequently continued his education at the state cinematography school Centro Sperimentale di Cinematografia. When he enrolled at the school at the age of 18, he was one of its youngest students ever.
At the age of 20, he was employed as an assistant cameraman and was promoted to camera operator within a year. Storaro spent several years visiting galleries and studying the works of great painters, writers, musicians and other artists. In 1966, he went back to work as an assistant cameraman on Before the Revolution (1964), one of the first films directed by Bernardo Bertolucci. Storaro earned his first credit as a cinematographer in 1968 for "Giovinezza, giovinezza". His third film was "The Spider's Stratagem (1970)" which began his long collaboration with Bertolucci. He also shot "The Conformist (1970)", "Last Tango in Paris (1972)", "Luna (1979)", "The Sheltering Sky (1990)_", "Little Buddha (1993)," for Bertolucci.
He won his first Oscar for the cinematography of "Apocalypse Now (1979)", for which director Francis Ford Coppola gave him free rein to design the visual look of the picture. Storaro originally had been reluctant to take the assignment as he considered Gordon Willis to be Coppola's cinematographer, but Coppola wanted him, possibly because of his having shot "Last Tango in Paris (1972), which had starred Marlon Brando. Brando's performance in the film had been semi-improvised, and Coppola has planned on a similar tack for his scenes in the jungle with Brando's character Colonel Kurtz.
The results of their collaboration were masterful, and he later shot the 3-D short "Captain EO (1986)", the feature films "One from the Heart (1981)" and "Tucker: The Man and His Dream (1988)," and the "Life without Zoe" segment of "New York Stories (1989)" for Coppola. He won his second Oscar as the director of photography on Warren Beatty's "Reds (1981)" and subsequently shot "Dick Tracy (1990)" and "Bulworth (1998)" for Beatty He won his third Oscar as the director of photography on Bertolucci's Best Picture Academy Award-winner "The Last Emperor (1987)".
"All great films are a resolution of a conflict between darkness and light," Storaro says. "There is no single right way to express yourself. There are infinite possibilities for the use of light with shadows and colors. The decisions you make about composition, movement and the countless combinations of these and other variables is what makes it an art."
According to Storaro, "Some people will tell you that technology will make it easier for one person to make a movie alone but cinema is not an individual art." Storaro disagrees. "It takes many people to make a movie. You can call them collaborators or co-authors. There is a common intelligence. The cinema never has the reality of a painting or a photograph because you make decisions about what the audience should see, hear and how it is presented to them. You make choices which super-impose your own interpretations of reality."
Storaro believes that, "It is our obligation to defend the audiences' rights to see the images and to hear the sounds the way we have expressed ourselves as artists,".
During the 1970s, the metaphor of cinematography as 'painting with light' took hold. Storaro, however, adds motion to the mix. Cinematography, to the great D.P., is writing with light and motion, the literal translation of the word cinematography, which derives from Greek
"It describes the real meaning of what we are attempting to accomplish," Storaro says. "We are writing stories with light and darkness, motion and colors. It is a language with its own vocabulary and unlimited possibilities for expressing our inner thoughts and feelings."
As a cinematographer, he is highly innovative. He had Rosco International fabricate a series of custom color gels for his lighting, which he used to implement his theories about emotional response to color. The "Storaro Selection" of color gels is available for other cinematographers from Rosco.
He created the "Univision" film system, which is a 35mm format based on film stock with three perforation that provides an aspect ratio of 2:1, which Storaro feels is a good compromise between the 2.35:1 and 1.85:1 wide-screen ratios favored by most filmmakers. Storaro developed the new technology with the intention of 2:1 becoming the universal aspect ratio for both movies and television in the digital age. He first shot the television mini-series "Dune" with the Univision system.
Storaro is the youngest person to receive the American Society of Cinematographer's Lifetime Achievement Award, and only the second recipient after Sven Nykvist not to be a U.S. citizen.- The Bird with the Crystal Plumage *
- The Spider's Stratagem **
- 1900
- The Last Emperor *
- New York Stories
- Dick Tracy
- The Sheltering Sky
- Tango
- Cinematographer
- Special Effects
- Editorial Department
The favorite cinematographer of legendary director Alfred Hitchcock began working at Warner Bros. when he was 19 years old. He climbed his way up from camera operator to assistant camera man and eventually took over the Special Photographic Effects unit at Warners on Stage 5 in 1944. He became an expert in forced perspective techniques which were widely in use at the time as cost-saving measures, or on B-pictures. Burks did special effects work on major productions like Arsenic and Old Lace (1944), The Unsuspected (1947) and Key Largo (1948).
In 1949, Burks graduated to becoming a fully-fledged director of photography. His striking black & white work on The Fountainhead (1949) was particularly evocative in showcasing the stark, austere architectural lines of the film's chief protagonist, Howard Roark (Gary Cooper). On the strength of this, and his next film, The Glass Menagerie (1950), Hitchcock hired him to shoot his thriller Strangers on a Train (1951). From this developed one of Hollywood's most inspired collaborations, as well as a close personal friendship.
When his contract at Warner Brothers expired in 1953, Burks followed Hitchcock to Paramount and went on to play an integral part in creating the brooding, tension-laden atmosphere of the director's best work between 1954 and 1964. His range varied from the neo-realist, almost semi-documentary black & white look of The Wrong Man (1956) to the intensely warm and beautiful deep focus VistaVision colour photography of Vertigo (1958). His muted tones matching the claustrophobic setting of Rear Window (1954) stood in sharp contrast to the vibrant, full-hued colours used in the expansive outdoor footage of To Catch a Thief (1955) and North by Northwest (1959).
The experience Burks had gained in forced perspective miniatures in his early days at Warner Brothers, also stood him in good stead on 'Vertigo' (the mission tower), 'North by Northwest' (the Mount Rushmore scenes) and, later, 'The Birds'. Because of his expertise, Burks was often able to contribute ideas to shooting scenes more effectively. He was also an innovator in the application of both telephoto and wide angle lenses as a means to creating a specific mood. The Hitchcock-Burks partnership ended after Marnie (1964), and, under less-inspired directors (except for A Patch of Blue (1965)), his later work inevitably declined in quality. Robert Burks and his wife, Elysabeth, were tragically killed in a fire at their house in May 1968.
Robert Burks won the 1955 Academy Award for Best Colour Photography for 'To Catch a Thief'. He was also nominated for 'Strangers on a Train', 'Rear Window' and 'A Patch of Blue'.- The Fountainhead
- Strangers on a Train
- Dial M for Murder
- To Catch a Thief
- The Man Who Knew Too Much
- The Wrong Man *
- The Birds
- Marnie
- Cinematographer
- Director
- Camera and Electrical Department
Although Henri Decaë gained fame as a cinematographer, he actually entered the film industry as an editor and soundman. Serving as a cameraman in the French army during WW II, upon his release he began making documentaries and directing and photographing industrial and commercial films, then in 1947 made his first feature. His documentary background showed in the look of the films he photographed, and he worked often with directors Louis Malle and Claude Chabrol. From those early, gritty films, Decae evolved into one of the premier cinematographers of plush, big-budget extravaganzas.- Le Silence de la Mer
- Bob le Flambeur
- Elevator to the Gallows
- Purple Noon
- Cinematographer
- Camera and Electrical Department
- Director
Carlo Di Palma was born on 17 April 1925 in Rome, Lazio, Italy. He was a cinematographer and director, known for Mighty Aphrodite (1995), Blow-Up (1966) and Manhattan Murder Mystery (1993). He was married to Adriana Chiesa Di Palma. He died on 9 July 2004 in Rome, Lazio, Italy.- Divorce Italian Style
- Hannah and Her Sisters *
- Manhattan Murder Mystery
- Cinematographer
- Director
- Writer
André Turpin was born in 1966 in Gatineau, Québec, Canada. He is a cinematographer and director, known for Mommy (2014), Incendies (2010) and Soft Shell Man (2001).- August 32nd on Earth *
- Maelstrom *
- Incendies *
- The Death and Life of John F. Donovan *
- Cinematographer
- Camera and Electrical Department
Jean Rabier was born on 16 March 1927 in Montfort-l'Amaury, Île-de-France, France. He was a cinematographer, known for Elevator to the Gallows (1958), The 400 Blows (1959) and The Umbrellas of Cherbourg (1964). He died on 15 February 2016 in Port-de-Bouc, Bouches-du-Rhône, France.- Cleo from 5 to 7
- The Umbrellas of Cherbourg *
- Le Boucher *
- Cinematographer
- Actor
- Camera and Electrical Department
John A. Alonzo was born on 12 June 1934 in Dallas, Texas, USA. He was a cinematographer and actor, known for Chinatown (1974), The Magnificent Seven (1960) and Star Trek: Generations (1994). He was married to Suzanne L. Heltzel and Jan Murray. He died on 13 March 2001 in Beverly Hills, California, USA.- The Fortune *
- The Bad News Bears
- Black Sunday
- Scarface *
- Cinematographer
- Camera and Electrical Department
- Director
Robbie Ryan is an Irish cinematographer. He is best known for his work in Fish Tank (2009), Slow West (2015), American Honey (2016) and The Favourite (2018) for which he was nominated for an Oscar for Best Achievement in Cinematography.
Ryan has already work in more than 90 projects as an Cinematographer, including feature length, short films, commercials, and music videos.- The Twenty Second Plastic Love Affair (short)
- Red Road *
- GirlLikeMe (short)
- Wuthering Heights *
- Philomena
- Jimmy's Hall
- Cinematographer
- Camera and Electrical Department
- Producer
Matthew Libatique is an American cinematographer. He is best known for his work with director Darren Aronofsky on the films Pi (1998), Requiem for a Dream (2000), The Fountain (2006), Black Swan (2010), Noah (2014) and Mother! (2017). He also shot Bradley Cooper's directorial debut film, A Star Is Born (2018).
Libatique also work as an cinematographer in the films Tigerland (2000), Phone Booth (2002), Iron Man (2008), Iron Man 2 (2010) and Venom (2018).
He has received two Academy Awards nominations for Best Achievement in Cinematography, one for Black Swan and the other for A Star Is Born.- Pi *
- Phone Booth
- Inside Man
- The Fountain *
- Noah
- Cinematographer
- Camera and Electrical Department
- Additional Crew
Bill Butler was born on 7 April 1921 in Cripple Creek, Colorado, USA. He was a cinematographer, known for One Flew Over the Cuckoo's Nest (1975), Grease (1978) and Jaws (1975). He was married to Iris Butler and Alma Hortense Smith. He died on 5 April 2023 in Los Angeles, California, USA.- The Rain People
- Drive, He Said
- Grease
- Rocky II
- Stripes
- Rocky III
- Frailty
- Cinematographer
- Animation Department
- Camera and Electrical Department
Kazuo Miyagawa was born on 25 February 1908 in Kyoto, Japan. He was a cinematographer, known for Yojimbo (1961), Rashomon (1950) and Brother (1960). He was married to Kazuko ?. He died on 7 August 1999 in Tokyo, Japan.- Rashomon *
- Ugetsu *
- Sansho the Bailiff *
- Floating Weeds *
- Cinematographer
- Camera and Electrical Department
- Director
Janusz Kaminski is a Polish cinematographer and film director. He has established a partnership with Steven Spielberg, working as a cinematographer on his movies since 1993. He won the Academy Award for Best Cinematography for his work on Schindler's List (1993) and Saving Private Ryan (1998).
His other film's as an cinematographer includes Amistad (1997), A.I. Artificial Intelligence (2001), Catch Me If You Can (2002), The Diving Bell and the Butterfly (2007), War Horse (2011), Lincoln (2012), Bridge of Spies (2015), The BFG (2016), and Ready Player One (2018).- Jerry Maguire
- Amistad
- A.I. Artificial Intelligence
- The Terminal
- Munich
- The Adventures of Tintin
- War Horse
- Lincoln *
- The Judge
- Bridge of Spies
- The Kidnapping of Edgardo Mortara
- Cinematographer
- Camera and Electrical Department
- Director
Born in Illinois in 1904, the only child of Jennie and Frank Toland, Gregg and his mother moved to California several years after his parents divorced in 1910. Through Jennie's work as a housekeeper for several people in the movie business, Gregg may had gotten a $12-a-week job at age 15 as an office boy at William Fox Studios. Soon he was making $18 a week as an assistant cameraman. When sound came to movies in 1927, the audible whir of movie cameras became a problem, requiring the cumbersome use of soundproof booths. Toland helped devise a tool which silenced the camera's noise and which allowed the camera to move about more freely. In 1931, Toland received his first solo credit for the Eddie Cantor comedy, "Palmy Days." In 1939 he earned his first Oscar for his work on William Wyler's "Wuthering Heights." In the following year he sought out Orson Welles who then hired him to photograph "Citizen Kane." (Toland was said to have protected the inexperienced Welles from potential embarrassment by conferring with him in private about technical matters rather than bringing these up in front of the assembled cast and crew.) For "Kane" Toland used a method which became known as "deep focus" because it showed background objects as clearly as foreground objects. (Film theorist Andre Bazin said that Toland brought democracy to film-making by allowing viewers to discover what was interesting to them in a scene rather than having this choice dictated by the director.) Toland quickly became the highest paid cinematographer in the business, earning as much as $200,000 over a three year period. He also became perhaps the first cinematographer to receive prominent billing in the opening credits, rather than being relegated to a card containing seven or more other names. Tragically, Toland's career was cut short in 1948 by his untimely death at age 44. Toland had a daughter, Lothian, by his second wife and two sons, Gregg jr. and Timothy, by his third. Lothian became the wife of comic Red Skelton.- Dead End
- Wuthering Heights
- The Grapes of Wrath
- The Long Voyage Home
- The Little Foxes
- Cinematographer
- Director
- Actor
Rodrigo Prieto is a Mexican cinematographer. He is best known for Brokeback Mountain (2005), Babel (2006), Argo (2012), The Wolf of Wall Street (2013), and Silence (2016).
He also worked with Alejandro González Iñárritu on the acclaimed Amores perros (2000), 21 Grams (2003), and Biutiful (2010).
Pietro was nominated for two Academy Award for Best Cinematography, first in Brokeback Mountain and later in Silence.- 25th Hour *
- Brokeback Mountain *
- Cinematographer
- Camera and Electrical Department
- Additional Crew
Robert Richardson has won three Academy Awards and earned seven Academy Award nominations for his cinematography. His work on director Oliver Stone's JFK earned him his first Oscar. His second and third came with The Aviator and Hugo directed by Martin Scorsese. These two films also garnered him BAFTA nominations for Best Cinematographer.
Prior to regularly collaborating with well-known directors like Oliver Stone and Quentin Tarantino, Richardson served an apprenticeship shooting second unit on Repo Man while filming television documentaries for PBS and the BBC. His work in television led Stone to hire Richardson to shoot both Salvador and Platoon. From there, he worked almost exclusively with Stone, filming Wall Street, Born on the Fourth of July and The Doors, while occasionally branching out to shoot films like John Sayles' Eight Men Out and City of Hope.
Richardson also shot Stone's Natural Born Killers, Nixon and U-Turn. He then began collaborating with Martin Scorsese and Quentin Tarantino. Scorsese chose him as DP on 1999's Bringing Out the Dead, while Tarantino snapped him up for Kill Bill, Vol. 1 and Kill Bill, Vol. 2.
Richardson continued to make his mark as Tarantino's DP on 2012's Django Unchained and 2015's The Hateful Eight, as well as on Ben Affleck's 2016 film Live By Night. He shot Director Andy Serkis's 2017 Breathe starring Andrew Garfield and Claire Foy; 2018's Adrift for Director Balthasar Kormakur starring Shailene Woodley and Sam Claflin for STX, and 2018's A Private War for Director Matthew Heineman starring Rosamund Pike. Richardson then shot Tarantino's 2020 hit Once Upon a Time in Hollywood, which starred Leonardo DiCaprio and Brad Pitt, and 2021's Venom 2 for Sony/Director Andy Serkis.
Recent credits include 2022's Emancipation again with Fuqua for Apple Studios, 2023's Air directed by Ben Affleck for Amazon Studios, and The Equalizer 3 for Director Antoine Fuqua and for Columbia Pictures.- Wall Street
- Born on the Fourth of July
- The Doors
- JFK
- Wag the Dog
- Bringing Out the Dead *
- The Aviator
- Cinematographer
- Visual Effects
- Camera and Electrical Department
Robert Elswit is an American cinematographer. He is best known for Boogie Nights (1997), Magnolia (1999), Good Night, and Good Luck (2005), There Will Be Blood (2007), Mission: Impossible - Ghost Protocol (2011), Inherent Vice (2014), and Nightcrawler (2014).
Elswit frequently works with director Paul Thomas Anderson and has worked with George Clooney several times. He shot Clooney's black and white, multiple-Oscar nominated film Good Night, and Good Luck. Notably, Elswit shot the film in color, then converted the film into black and white in post production.
He received his first Academy Award nomination for Best Cinematography in 2006 for his work on the movie Good Night, and Good Luck. Two years later, he would again be nominated and this time win the Oscar for Best Cinematography, for his work on There Will Be Blood.- Runaway Jury
- Good Night, and Good Luck. *
- Michael Clayton
- Cinematographer
- Camera and Electrical Department
- Additional Crew
Sean Bobbitt was born on 29 November 1958 in Corpus Christi, Texas, USA. He is a cinematographer, known for 12 Years a Slave (2013), Hunger (2008) and Shame (2011).- Wonderland
- Dog (short)
- Mr. Burberry (short)
- The Rhythm Section *
- Cinematographer
- Camera and Electrical Department
- Writer
Born in Tahiti, the son of writer James Norman Hall, author of "Mutiny on the Bounty," Conrad Hall studied filmmaking at USC. He and two classmates formed a production company and sold a project to a local television station. Hall's company branched out into making industrial films and TV commercials. They were hired to shoot location footage for several feature films, including's Disney's The Living Desert (1953). In the early 1960s, Hall was hired as a camera assistant on several features and worked his way up to camera operator. He received his first cinematographer credit in 1965. Hall won acclaim for his rich and complex compositions, especially for In Cold Blood (1967) and won an Academy Award for Butch Cassidy and the Sundance Kid (1969). He won two more Oscars, for American Beauty (1999), in 2000, and Road to Perdition (2002).- In Cold Blood *
- Fat City *
- Marathon Man
- Black Widow
- Cinematographer
- Camera and Electrical Department
- Producer
Anthony B. Richmond was born on 7 July 1942 in London, England, UK. He is a cinematographer and producer, known for Don't Look Now (1973), The Man Who Fell to Earth (1976) and Walkabout (1971). He has been married to Amanda Digiulio Richmond since 1995. He was previously married to Jaclyn Smith and Linda DeVetta.- The Man Who Fell to Earth *
- Bad Timing
- Candyman
- The Sandlot
- Cinematographer
- Camera and Electrical Department
- Actor
Tonino Delli Colli was born on 20 November 1922 in Rome, Lazio, Italy. He was a cinematographer and actor, known for The Name of the Rose (1986), Life Is Beautiful (1997) and Once Upon a Time in America (1984). He was married to Alexandra Delli Colli. He died on 16 August 2005 in Rome, Lazio, Italy.- Accattone
- Seven Beauties *
- Once Upon a Time in America *
- The Name of the Rose
- Life is Beautiful *
- Cinematographer
- Camera and Electrical Department
- Actor
Peter Deming was born in Beirut, Lebanon. He is a cinematographer and actor, known for Mulholland Drive (2001), The Menu (2022) and The Continental (2023).- Evil Dead II
- Lost Highway *
- I Heart Huckabees
- Cinematographer
- Camera and Electrical Department
- Director
Rachel Morrison is an American cinematographer. She is best known for the films Fruitvale Station (2013), Cake (2014), Dope (2015), Mudbound (2017) and Black Panther (2018).
She began her career working on series and TV movies for a number of networks.
The independent film Palo Alto (2007) marked Morrison's debut as the primary cinematographer on a feature film.
For her work on Mudbound she earned a nomination for an Academy Award for Best Cinematography, making her the first woman ever recognized in the category.- Dope
- Mudbound
- Cinematographer
- Camera and Electrical Department
Victor J. Kemper was born on 14 April 1927 in Newark, New Jersey, USA. He was a cinematographer, known for The Final Countdown (1980), Clue (1985) and Vacation (1983). He was married to Claire. He died on 27 November 2023 in Sherman Oaks, California, USA.- The Hospital
- Stay Hungry
- Magic *
- Cinematographer
- Camera and Electrical Department
Alwin H. Küchler was born in 1965 in Düsseldorf, North Rhine-Westphalia, Germany. He is a cinematographer, known for Sunshine (2007), The Mauritanian (2021) and Divergent (2014). He has been married to Ngozi Onwurah since 28 November 1998.- Sunshine *
- Marley
- Cinematographer
- Camera and Electrical Department
- Director
Starting out in 1924 as a lab technician at MGM, John Alton left there for Paramount to become a cameraman. He traveled to France and then to South America, where he wrote, photographed and directed several Spanish-language films. Returning to Hollywood in 1937, he soon achieved a reputation as one of the industry's most accomplished cinematographers. In 1951, he and Alfred Gilks won an Academy Award for color photography for An American in Paris (1951).- T-Men
- The Big Combo
- Cinematographer
- Editor
- Director
Born in Berlin (West), Fred Kelemen studied painting, music, philosophy, science of religions and theatre sciences and worked in different theatres as a director's assistant before he began his studies at the German Film & TV Academy Berlin (dffb) in 1989. Since that time, he has made a number of films and videos as director and collaborated as Director of Photography and Cameraman with several film directors like Béla Tarr (Utazás az Alföldön (1995), The Man from London (2007), The Turin Horse (2011)), Gisa Schleelein (Tatau Samoa (2000)) and Gariné Torossian (Stone Time Touch (2007)). In 2000 and 2001 he directed several plays at different theaters in Germany. Since 1995 he is working as a guest lecturer at the Centre of Cinematographic Studies of Catalania (C.E.C.C.) in Barcelona/Spain, at the School of Visual Arts (ESBAG) in Geneva/Switzerland, at the Latvian Cultural Academy (LKA) in Riga, at the Tel Aviv University, at the Film and TV Academy Berlin (dffb), at the Ecole des Beaux Arts in Lyon etc. Retrospectives of his work had been presented in Lisbon/Portugal, Belgrade/Yugoslavia, Cambride/U.S.A, Athens/Greece, Brussels/Belgium, Oslo/Norway, Hannover/Germany, New York City/U.S.A., Buenos Aires/Argentina, Berlin/Germany, Barcelona/Spain, Bern/Switzerland, Ankara/Turkey, London/England, Potsdam/Germany, Bankok/ThailandHamburg/Germany. Fred Kelemen is member of the European Film Academy, the German Film Academy and the European Culture Parliament.- Journey on the Plain (short)
- The Man from London
- The Turin Horse *
- Cinematographer
- Camera and Electrical Department
- Producer
Sturla Brandth Grøvlen was born on 11 March 1980 in Trondheim, Norway. He is a cinematographer and producer, known for Victoria (2015), The Innocents (2021) and Another Round (2020).- Heartstone
- Cinematographer
- Actor
- Director
Gábor Medvigy was born on 18 May 1957 in Budapest, Hungary. He was a cinematographer and actor, known for Dolina (2007), Kísértések (2002) and Az alkimista és a szüz (1999). He died on 27 August 2023.- Damnation *
- Satantango *
- Cinematographer
- Camera and Electrical Department
- Producer
Giorgos Arvanitis was born on 22 February 1941 in Dilofo, Kozani, Greece. He is a cinematographer and producer, known for The Swamp (1973), Such a Long Absence (1985) and Sti skia tou fovou (1988).- Voyage to Cythera *
- Landscape in the Mist *
- Voyager
- Ulysses' Gaze *
- Eternity and a Day *
- Fat Girl
- Cinematographer
- Director
- Writer
1973 founded own production company TTV Film. Extensive work as a documentary film-maker. 1977 building of experimental video studio. Work with and technical support for various young film-makers working under TTV Film. 1980/81 increasing work in TV plays, screen adaptations with various authors, director of photography for feature films and work as director. Participation at more than 20 int. festivals, numerious austrian & int. awards.- The Piano Teacher *
- Caché
- Happy End
- Cinematographer
- Camera and Electrical Department
- Actor
Manuel Alberto Claro is a Chilean-Danish cinematographer best known for his work with director Lars von Trier on Melancholia (2011), Nymphomaniac: Vol 1 (2013), and The House That Jack Built (2018). Claro also shot the 2014 comedy Top Five starring Chris Rock and is known for his work with director Christoffer Boe on the feature films Everything Will Be Fine (2010), Allegro (2005) and Reconstruction (2003), which went on to win the Camera d'Or at the Cannes Film Festival.
Claro has won numerous international accolades for his work. With an impressive 24 nominations and 12 wins, Claro has won awards at the Venice Film Festival, Camerimage, the Cannes Film Festival, and the European Film Awards. Additionally Claro's movies have premiered at the Cannes Film Festival, the Venice Film Festival, the Toronto International Film Festival, the Sundance Film Festival and the Berlin International Film Festival.
Recent credits include The Chorus Girls directed by Ditte Hansen and Louise Mieritz for TV2 Danmark in February, The Pact (2021) directed by Billie August for Motor Productions, five episodes of The Kingdom Exodus (Season 3, 2022) directed by Lars Von Trier for Zentropa Entertainment and A Taste of Hunger (2021) directed by Christoffer Boe for Zentropa Entertainment.
Claro has lensed commercials for many brands including H&M, Sony, IKEA, Canon, Nokia, Maersk, Momondo, Persil, Philadelphia, Synoptik, Tulip, Velux, Zeta. He has shot music videos for a wide range of artists, including FKA Twigs, Paloma Faith, Rhye, Sons of Raphael.
Born in Santiago, Chile and raised in Denmark, Claro studied still photography in Milan and worked as an assistant photographer before attending the prestigious National Film School of Denmark to study cinematography. Claro currently resides in Copenhagen with his partner and two children. He is fluent in Danish, English and Spanish.- Melancholia *
- The House that Jack Built
- Cinematographer
- Camera and Electrical Department
- Actor
Darius Khondji was born on 21 October 1955 in Tehran, Iran. He is a cinematographer and actor, known for Amour (2012), Se7en (1995) and Delicatessen (1991). He is married to Marianne Khondji. They have three children.- Delicatessen
- The City of Lost Children
- Panic Room
- Funny Games
- Midnight in Paris
- Amour *
- Cinematographer
- Actor
- Director
Christopher Doyle was born on 2 May 1952 in Sydney, New South Wales, Australia. He is a cinematographer and actor, known for Paranoid Park (2007), Hero (2002) and 2046 (2004).- Fallen Angels *
- Happy Together *
- Hero *
- 2046
- Paranoid Park
- The Limits of Control *
- Cinematographer
- Director
- Producer
Ben Richardson is known for Beasts of the Southern Wild (2012), Wind River (2017) and Mare of Easttown (2021).- Beasts of the Southern Wild *
- Wind River
- 1922
- Cinematographer
- Camera and Electrical Department
- Additional Crew
Robert L. Surtees began his working life as a portrait photographer and retoucher, before becoming camera assistant at Universal in 1927. He spent a lengthy apprenticeship (15 years) working under such experienced cinematographers as Hal Mohr, Joseph Ruttenberg and Gregg Toland. Between 1929 and 1930, he was seconded to the Universal studios in Berlin, subsequently spending the remainder of the decade at First National, Warner Brothers and Pathe. He settled at MGM in 1943 (remaining under contract until 1962), and soon developed a reputation as one of Hollywood's foremost lighting cameramen.
In keeping with the glamorous, lavish look of MGM product of the time, Surtees typically employed high-key lighting. This particularly suited big budget colour epics, like Quo Vadis (1951) and Ben-Hur (1959) (filmed in the large screen Camera 65 process with anamorphic lenses, which greatly enhanced colour definition and sharpness); expansive outdoor musicals like Oklahoma! (1955) (the first picture shot in 70 mm Todd-AO ultra wide- screen format); or lush, romantic period drama like Raintree County (1957). Forever at the cutting edge of technological innovation, Surtees was an extremely versatile craftsman. He excelled at every genre and photographic process, superb at shooting sweeping scenery (for example, his Technicolor lensing of King Solomon's Mines (1950)on location in Africa), or bringing the best out of his close-ups. An undoubted high point in his career would have to be the 9-minute chariot race from "Ben-Hur".
Surtees received the first of his 16 Oscar nominations for Thirty Seconds Over Tokyo (1944) (when the studio system was at its peak), and his last - some 33 years later - for The Turning Point (1977). Testimony to his ageless endurance was being picked by director Peter Bogdanovich to shoot The Last Picture Show (1971). In the same nostalgic vein, his work on The Sting (1973), photographed in subtle sepia tones (the film was deemed by the Library of Congress as 'aesthetically significant'), contributed greatly to its winning 7 Academy Awards.- Ben-Hur *
- The Arrangement
- Cinematographer
- Director
- Camera and Electrical Department
Caleb Deschanel is an American film cinematographer and film/television director. He has been nominated for six Academy Awards, each time in the field of cinematography. The first nomination came in 1983 for the film The Right Stuff (1983). His second was in 1984 for The Natural (1984), the third in 1996 for Fly Away Home (1996), the fourth in 2000 for The Patriot (2000), the fifth for The Passion of the Christ (2004), and the sixth for Never Look Away (2018).
He is the father of actresses Emily Deschanel and Zooey Deschanel.- The Black Stallion
- The Right Stuff
- The Natural
- Killer Joe
- Never Look Away
- Cinematographer
- Actor
- Camera and Electrical Department
Michael Chapman is an American cinematographer. He is best known for Taxi Driver (1976), Raging Bull (1980), The Fugitive (1993), and Primal Fear (1996).
Chapman began his film career as a camera operator before making the leap to cinematographer. As a cinematographer, he became famous for his two collaborations with Martin Scorsese.
He was also cinematographer for the hit remake of Invasion of the Body Snatchers (1978).
In 1987, Chapman collaborated again with Martin Scorsese on the 18-minute short film that served as the music video for Michael Jackson: Bad (1987).- The Last Waltz **
- Hardcore
- Primal Fear
- Cinematographer
- Camera and Electrical Department
- Actor
Harris Savides was born on 28 September 1957 in New York City, New York, USA. He was a cinematographer and actor, known for Elephant (2003), Zodiac (2007) and Birth (2004). He was married to Medine Chenet. He died on 9 October 2012 in Manhattan, New York City, New York, USA.- The Game
- Gerry
- Elephant *
- The Key to Reserva (short)
- Milk
- Somewhere
- Cinematographer
- Camera and Electrical Department
- Actor
Dick Pope was born in August 1947 in Bromley, Kent, England, UK. He is a cinematographer and actor, known for The Illusionist (2006), Mr. Turner (2014) and Vera Drake (2004).- The Reflecting Skin
- Life is Sweet
- Naked
- Secrets & Lies *
- All or Nothing
- Vera Drake
- The Illusionist
- Another Year
- Mr. Turner *
- Cinematographer
- Camera and Electrical Department
- Director
Ellen Kuras was born on 10 July 1959 in New Jersey, USA. She is a cinematographer and director, known for Eternal Sunshine of the Spotless Mind (2004), The Betrayal (2008) and P.O.V. (1988).- Bamboozled
- Blow
- Berlin
- David Byrne's American Utopia
- Cinematographer
- Camera and Electrical Department
- Actress
Claire Mathon was born in 1975. She is a cinematographer and actress, known for Portrait of a Lady on Fire (2019), Spencer (2021) and Stranger by the Lake (2013).- Stranger by the Lake
- Staying Vertical
- Atlantics
- Cinematographer
- Camera and Electrical Department
- Director
Peter Suschitzky was born on 25 July 1941 in Warsaw, Mazowieckie, Poland. He is a cinematographer and director, known for Dead Ringers (1988), Eastern Promises (2007) and Naked Lunch (1991).- The Rocky Horror Picture Show
- Naked Lunch
- Crash
- Spider
- A History of Violence
- Eastern Promises
- A Dangerous Method
- Actor
- Producer
- Cinematographer
Al Ruban is known for Faces (1968), Opening Night (1977) and The Killing of a Chinese Bookie (1976).- Faces **
- The Killing of a Chinese Bookie *
- Opening Night *
- Cinematographer
- Camera and Electrical Department
- Actor
Jörg Schmidt-Reitwein was born on 21 February 1939 in Königs Wusterhausen, Brandenburg, Germany. He was a cinematographer and actor, known for Nosferatu the Vampyre (1979), Marmorera (2007) and Heart of Glass (1976). He died on 21 August 2023.- Fata Morgana *
- The Enigma of Kaspar Hauser
- Heart of Glass
- Woyzeck
- Cinematographer
- Second Unit Director or Assistant Director
- Camera and Electrical Department
Sacha Vierny was born on 10 August 1919 in Bois-le-Roi, Seine-et-Marne, France. He was a cinematographer and assistant director, known for The Cook, the Thief, His Wife & Her Lover (1989), The Pillow Book (1995) and Belle de Jour (1967). He died on 15 May 2001 in Vannes, Morbihan, France.- Night and Fog *
- Last Year at Marienbad *
- Belle de Jour
- The Cook, the Theif, His Wife & Her Lover
- The Pillow Book
- Cinematographer
- Camera and Electrical Department
- The Beat That My Heart Skipped
- A Prophet *
- Goodbye First Love
- Elle
- Jackie
- Cinematographer
- Camera and Electrical Department
- Additional Crew
Oscar-winning cinematography Oswald Morris was one of the most outstanding directors of photography of the 20th Century, making his reputation by expanding the parameters of color cinematography. Born in November 1915 in Hillingdon, Middlesex, England, a month short of his 17th birthday, he became a factotum and clapper boy at Wembley Studios, which churned out quota quickies. The studio made one movie a week at a cost of one pound per foot of film. He left the studio in the spring of 1933 to go to work at British International Pictures at Elstree Studios, but soon returned to Wembley after it was taken over by Fox and became a camera assistant.
In World War II, he served as a Royal Air Force bomber pilot, flying missions over France and Germany before being transferred to transport planes. After being demobilized, Morris joined Independent Producers at Pinewood Studios in January 1946, where he became a camera operator for director of photography Ronald Neame. When Neame became a director, he was promoted to d.p. on Golden Salamander (1950) (1950). He soon made his name shooting Moulin Rouge (1952) (1952) for John Huston, which was famous for its use of color suggesting the palette of Henri de Toulouse-Lautrec, the subject of the film. The British Society of Cinematographers awarded him its Best Cinematography Award for his work on the film.
"Ossie" Morris had a distinguished career as a director of photography for 30 years, working with some of the top directors in English-language film, including Huston, Stanley Kubrick and Sidney Lumet. He was nominated three times for an Academy Award, for Oliver! (1968), Fiddler on the Roof (1971), and The Wiz (1978). He won an Oscar for "Fiddler" plus three BAFTA Awards and was honored with the International Award by the American Society of Cinematographers in 2000.- Cinematographer
- Camera and Electrical Department
- Producer
Thomas Mauch was born on 4 April 1937 in Heidenheim/Brenz, Germany. He is a cinematographer and producer, known for Aguirre, the Wrath of God (1972), Fitzcarraldo (1982) and The Kingdom of Naples (1978).- Cinematographer
- Camera and Electrical Department
- Director
Master cinematographer James Wong Howe, whose career stretched from silent pictures through the mid-'70s, was born Wong Tung Jim in Canton (now Guangzhou), China, on August 28, 1899, the son of Wong How. His father emigrated to America the year James was born, settling in Pasco, Washington, where he worked for the Northern Pacific Railroad. Wong How eventually went into business for himself in Pasco, opening a general store, which he made a success, despite the bigotry of the locals.
When he was five years old, Wong Tung Jim joined his father in the US. His childhood was unhappy due to the discrimination he faced, which manifested itself in racist taunting by the neighborhood children. To get the kids to play with him, Jimmie often resorted to bribing them with candy from his father's store. When Jimmie, as he was known to his friends and later to his co-workers in the movie industry, was about 12 years old he bought a Kodak Brownie camera from a drugstore. Though his father was an old-fashioned Chinese, suspicious about having his picture taken and opposed to his new hobby, Jimmie went ahead and photographed his brothers and sisters. Unfortunately, when the photos were developed, the heads of his siblings had been cut off, as the Brownie lacked a viewfinder.
His childhood dream was to be a prizefighter, and as a teenager he moved to Oregon to fight. However, his interest soon waned, and he moved to Los Angeles, where he got a job as an assistant to a commercial photographer. His duties included making deliveries, but he was fired when he developed some passport photos for a friend in the firm's darkroom. Reduced to making a living as a busboy at the Beverly Hills Hotel, he journeyed down to Chinatown on Sundays to watch movies being shot there.
Jimmie Howe made the acquaintance of a cameraman on one of the location shoots, who suggested he give the movies a try. He got hired by the Jesse Lasky Studios' photography department at the princely sum of $10 per week, but the man in charge thought he was too little to lug equipment around, so he assigned Jimmie custodial work. Thus the future Academy Award-wining cinematographer James Wong Howe's first job in Hollywood was picking up scraps of nitrate stock from the cutting-room floor (more important than it sounds, as nitrate fires in editing rooms were not uncommon). The job allowed him to familiarize himself with movie cameras, lighting equipment and the movie film-development process.
His was a genuine Horatio Alger "Up From His Bootstraps" narrative, as by 1917 he had graduated from editing room assistant to working as a slate boy on Cecil B. DeMille's pictures. The promotion came when DeMille needed all his camera assistants to man multiple cameras on a film. This left no one to hold the chalkboard identifying each scene as a header as the take is shot on film, so Jimmie was drafted and given the title "fourth assistant cameraman. He endeared himself to DeMille when the director and his production crew were unable to get a canary to sing for a close-up. The fourth assistant cameraman lodged a piece of chewing gum in the bird's beak, and as it moved its beak to try to dislodge the gum, it looked like the canary was singing. DeMille promptly gave Jimmie a 50% raise.
In 1919 he was being prepared for his future profession of cameraman. "I held the slate on Male and Female (1919)", he told George C. Pratt in an interview published 60 years later, "and when Mr. DeMille rehearsed a scene, I had to crank a little counter . . . and I would have to grind 16 frames per second. And when he stopped, I would have to give him the footage. He wanted to know how long the scene ran. So besides writing the slate numbers down and keeping a report, I had to turn this crank. That was the beginning of learning how to turn 16 frames".
Because of the problem with early orthochromatic film registering blue eyes on screen, Howe was soon promoted to operating cameraman at Paramount (the new name for the Lasky Studio), where his talents were noted. A long-time photography buff, Jimmie Howe enjoyed taking still pictures and made extra money photographing the stars. One of his clients was professional "sweet young thing" Mary Miles Minter, of the William Desmond Taylor shooting scandal, who praised Jimmie's photographs because they made her pale blue eyes, which did not register well on film, look dark. When she asked him if he could replicate the effect on motion picture film, he told her he could, and she offered him a job as her cameraman.
Howe did not know how he'd made Minter's eyes look dark, but he soon realized that the reflection of a piece of black velvet at the studio that had been tacked up near his still camera had cast a shadow in her eyes, causing them to register darkly. Promoted to Minter's cameraman, he fashioned a frame of black velvet through which the camera's lens could protrude; filming Minter's close-ups with the device darkened her eyes, just as she desired. The studio was abuzz with the news that Minter had acquired a mysterious Chinese cameraman who made her blue eyes register on film. Since other blue-eyed actors had the same problem, they began to demand that Jimmie shoot them, and a cinematography star was born.
Jimmie Howe was soon advanced beyond operating cameraman to lighting cameraman (called "director of photography" in Hollywood) on Minter's Drums of Fate (1923), and he served as director of photography on The Trail of the Lonesome Pine (1923) the next year. As a lighting cameraman he was much in demand, and started to freelance. Notable silent pictures on which he served as the director of photography include Paramount's Mantrap (1926), starring "It Girl" Clara Bow, and MGM's Laugh, Clown, Laugh (1928), starring silent superstar John Gilbert opposite Joan Crawford.
The cinematography on "Mantrap" was his breakthrough as a star lighting cameraman, in which his lighting added enormously to bringing out Clara Bow's sex appeal. He bathed Bow in a soft glow, surrounding the flapper with shimmering natural light, transforming her into a seemingly three-dimensional sex goddess. Even at this early a stage in his career, Howe had developed a solid aesthetic approach to film, based on inventive, expressive lighting. The film solidified his reputation as a master in the careful handling of female subjects, a rep that would get him his last job a half-century later, on Barbra Streisand's Funny Lady (1975).
Jimmie Howe journeyed back to China at the end of the decade to shoot location backgrounds for a movie about China he planned to make as a director. Though the movie was never made, the footage was later used in Josef von Sternberg's Shanghai Express (1932). When he returned to the US, Hollywood was in the midst of a technological upheaval as sound pictures were finishing off the silent movie, which had matured into a medium of expression now being hailed as "The Seventh Art." The silent film, in a generation, had matured into a set art form with its own techniques of craftsmanship, and pictures like 7th Heaven (1927) and The Bridge of San Luis Rey (1929) generally were thought to be examples of the "photoplay" reaching perfection as a medium. This mature medium now was violently overthrown by the revolutionary upstart, Sound. The talkies had arrived.
The Hollywood Howe returned to was in a panic. All the wisdom about making motion pictures had been jettisoned by nervous studio heads, and the new Hollywood dogma held that only cameramen with experience in sound cinematography could shoot the new talking pictures, thus freezing out many cameramen who had recently been seen as master craftsmen in the silent cinema. Director William K. Howard, who was in pre-production with his film Transatlantic (1931), wanted Jimmie Howe's expertise. Having just acquired some new lenses with $700 of his own money, Howe shot some tests for the film, which impressed the studio enough to gave Howard permission to hire Jimmie to shoot it.
Once again, his career thrived and he was much in demand. He earned the sobriquet "Low-Key Howe" for his low-contrast lighting of interiors, exerting aesthetic control over the dark spots of a frame in the way that a great musician "played" the silences between notes. In 1933 he gave up freelancing and started working in-house at MGM, where he won a reputation for efficiency. He shot The Thin Man (1934) in 18 days and Manhattan Melodrama (1934) in 28 days. It was at MGM that he became credited as "James Wong Howe". Howe's original screen credit was "James Howe" or "Jimmie Howe", but during his early years at MGM "Wong" was added to his name by the front office, "for exotic flair", and his salary reached $500 a week. After shooting 15 pictures for MGM, he moved over to Warner Bros. for Algiers (1938), garnering him his first Academy Award nomination. Studio boss Jack L. Warner was so thrilled by Howe's work with Hedy Lamarr that he signed Jimmie to a seven-year contract. James Wong Howe shot 26 movies at Warners through 1947, and four others on loanout to other studios.
A master at the use of shadow, Howe was one of the first DPs to use deep-focus cinematography, photography in which both foreground and distant planes remain in focus. His camerawork typically was unobtrusive, but could be quite spectacular when the narrative called for it. In the context of the studio-bound production of the time, Wong Howe's lighting sense is impressive given his use of location shooting. Citic James Agee called him one of "the few men who use this country for background as it ought to be used in films." Wong Howe used backgrounds to elucidate the psychology of the film's characters and their psychology, such as in Pursued (1947), where the austere desert landscape serves to highlight the tortured psyche of Robert Mitchum's character.
Wong Howe was famed for his innovations, including putting a cameraman with a hand-held camera on roller skates inside a boxing ring for Body and Soul (1947) to draw the audience into the ring. He strapped cameras to the actors' waists in The Brave Bulls (1951) to give a closer and tighter perspective on bullfighting, a sport in which fractions of an inch can mean the difference between life and death. He was hailed for his revolutionary work with tracking and distortion in Seconds (1966), in which he used a 9mm "fish-eye" lens to suggest mental instability.
James Wong Howe became the most famous cameraman in the world in the 1930s, and he bought a Duesenberg, one of the most prestigious and expensive automobiles in the world. His driving his "Doozy" around Hollywood made for an incongruous sight, as Chinese typically were gardeners and houseboys in prewar America, a deeply racist time. During World War II anti-Asian bigotry intensified, despite the fact that China was an ally of the United States in its war with Japan. Mistaken for a Japanese (despite their having been relocated to concentration camps away from the Pacific Coast), he wore a button that declared "I am Chinese." His close friend James Cagney also wore the same button, out of solidarity with his friend.
Wong Howe was involved in a long-term relationship with the writer Sanora Babb, who was a Caucasian. Anti-miscegenation laws on the books in California until 1948 forbade Caucasians from marrying Chinese, and the couple could not legally marry until 1949, after the laws had been repealed. In September of 1949 they finally tied the knot, and Sanora Babb Wong Howe later told a family member that they had to hunt for three days for a sympathetic judge who would marry them.
Wong Howe eventually bought a Chinese restaurant located near the Ventura Freeway, which he managed with Sanora. When a photographer from a San Fernando Valley newspaper came to take a picture of the eatery, Howe counseled that he should put a wide-angle lens on his camera so he wouldn't have to stand so close to the freeway to get the shot. "I'll take the picture," the photographer unknowingly snapped at one of the master cinematographers of the world, "you just mind your goddamned noodles!"
Perhaps due to the sting of racism, the hypocrisy of a country fighting the Nazis and their eugenics policies that itself allowed the proscription of racial intermarriage, which kept him from legally marrying the woman he loved, or perhaps because of the Red-baiting that consumed Hollywood after the War, James Wong Howe's professional reputation began to decline in the late 1940s. Losing his reputation for efficiency, he was branded "difficult to work with," and producers began to fear his on-set temper tantrums. Though Wong Howe was never blacklisted, he came under the scrutiny of the House Un-American Activities Committee for his propensity for working with "Reds", "Pinks" and "fellow-travelers" such as John Garfield. Though he was never hauled in front of HUAC, Wong Howe's good friend Cagney had been a noted liberal in the 1930s. James Wong Howe felt the chill cast over the industry by McCarthyism.
In 1953 Wong Howe was given the opportunity to direct a feature film for the first time, being hired to helm a biography of Harlem Globetrotters founder Abe Saperstein, Go Man Go (1954). The film, which was brought in at 21 days on a $130,000 budget, did nothing to enhance his reputation. Howe managed to pull out of his career doldrums, and after McCarthyism crested in 1954 he won his first Oscar for the B+W cinematography of The Rose Tattoo (1955), in which the shadows created by Howe's cinematography reveal the protagonist Serafina's emotional turmoil as much as the words of Tennessee Williams. He directed one more picture, the undistinguished Invisible Avenger (1958), a B-movie in which The Shadow, Lamont Cranston, investigated the murder of a New Orleans bandleader, before returning to his true vocation, the motion picture camera.
By the mid-'50s Howe had made it back to the top of the profession. In 1957 he did some of his most brilliant work on Sweet Smell of Success (1957), a textbook primer on the richness of B+W cinematography. Ironically, he was not Oscar-nominated for his work on the film, but was nominated the following year for his color work on The Old Man and the Sea (1958) and won his second Oscar for the B+W photography of Hud (1963). Once again Wong Howe used a landscape, the barren and lonely West Texas plains, to highlight the psychological state of the film's protagonist, the amoral and go-it-alone title character played by Paul Newman.
One of Wong Howe's favorite assignments in his career was the five-month shoot under the once-blacklisted Martin Ritt on The Molly Maguires (1970), a tale of labor strife, which was shot on location in the Pennsylvania coal fields. His health started to fail after the shoot, and he was forced into retirement, requiring frequent hospitalization in the final years of his life. Reportedly he had to turn down the offer to shoot The Godfather (1972), as he was not healthy enough to undertake the assignment. Gordon Willis got the job instead.
When Funny Lady (1975) producer Ray Stark fired Vilmos Zsigmond as the director of photography of his Funny Girl (1968) sequel, he hired Howe due to his faith that the great lighting cameraman who had done wonders with Mary Miles Minter, Clara Bow, and Hedy Lamarr could glamorize his star, Barbra Streisand. Howe took over the shoot, but his health gave out after a short time and he collapsed on the set. Oscar-winner Ernest Laszlo, then-president of the American Society of Cinematographers, filled in until Howe returned from the hospital and finished the shoot. He received his last Oscar nomination for his work on the film. It marked the end of a remarkable career in motion pictures that spanned almost 60 years.
By the time of his retirement, he had long been acknowledged as a master of his art, one of the greatest lighting cameramen of all time, credited with shooting over 130 pictures in Hollywood and England. He worked with many of the greatest and most important directors in cinema history, from Allan Dwan in the silent era to Sidney Lumet in the 1960s. He created three production companies during his professional career, an untopped career in which he racked up ten Academy Award nominations in both B+W white and color (including notoriously difficult Technicolor), in formats ranging from the Academy ratio to CinemaScope, all of which he mastered. An even greater honor than his two Oscar wins came his way. In 1949, when he was chosen to shoot test footage for the proposed comeback of the great Greta Garbo in the proposed movie "La Duchesse de Langeais," such was his reputation.
Sanora Babb Wong Howe wrote after his death, "My husband loved his work. He spent all his adult life from age 17 to 75, a year before his death, in the motion picture industry. When he died at 77, courageous in illness as in health, he was still thinking of new ways to make pictures. He was critical of poor quality in any area of film, but quick to see and appreciate the good. His mature style was realistic, never naturalistic. If the story demanded, his work could be harsh and have a documentary quality, but that quality was strictly Wong Howe. If the story allowed, his style was poetic realism, for he was a poet of the camera. This was a part of his nature, his impulse toward the beautiful, but it did not prevent his flexibility in dealing with all aspects of reality."
His greatest asset to film may have been his adaptability, the many ways in which he could vary his aesthetic in service of a story. Howe initially fought the notoriously gimmicky John Frankenheimer over his desire to use a fish-eye lens for "Seconds." Subsequently, Howe used the lens masterfully to convey the psychological torment of the protagonist, locked in a beyond-Kafkaesque nightmare that simply relying on sets and lighting couldn't bring across. He had made it work by adapting his aesthetic to the needs of the story and its characters, in service to his director.
Howe's work was given retrospectives at the 2002 Seattle International Film Festival, and in San Francisco in 2004, a rare honor for a cinematographer. It was testimony to his continuing reputation, more than a quarter century after his death, as one of the greatest and most innovative lighting cameramen the world of cinema has ever known.
Perhaps the greatest honor that can be bestowed on James Wong Howe is that this master craftsman, a genius of lighting, refutes the auteur theory, which holds that the director solely is "author" of a film. No one could reasonably make that claim on any picture on which Howe was the director of photography.