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Arts > Movies > Cinematographers > Timeline
Gordon Willis, Cinematography Master Video The New York Times 20 May 2014
Gordon Willis, the cinematographer behind several seminal films of the 1970s including "The Godfather" and "Manhattan," died on Sunday.
Produced by: Robin Lindsay and Gabe Johnson Watch more videos at: http://nytimes.com/video
YouTube http://www.youtube.com/watch?v=aW64DCGYp3U
Jeff Cronenweth USA
https://en.wikipedia.org/wiki/
https://www.npr.org/2011/02/28/
Roger Deakins UK
The man who filmed Skyfall, Blade Runner 2049 and No Country for Old Men started out as a photographer in Devon.
https://www.theguardian.com/artanddesign/2022/nov/23/
https://www.theguardian.com/artanddesign/2022/nov/23/
https://www.theguardian.com/artanddesign/gallery/2021/aug/24/
https://www.npr.org/2019/09/13/
https://www.npr.org/templates/story/
Rachel Morrison USA
https://www.npr.org/2018/02/28/
Bradford Young USA
http://www.npr.org/2015/03/01/
Chris Menges UK
https://www.theguardian.com/film/2011/sep/08/
Dick Pope UK 1947-2024
Pope worked with Leigh on 11 of his films starting with 1990’s Life is Sweet.
Their other joint credits include Naked, Secrets & Lies, Another Year, Peterloo and Vera Drake.
https://www.theguardian.com/film/2024/oct/22/
https://en.wikipedia.org/wiki/
https://www.theguardian.com/film/2024/oct/22/
Wilmer C. Butler / Bill Butler USA 1921-2023
Oscar-nominated cinematographer
He was known for shooting Jaws and other iconic films.
As director of photography, Butler collaborated with such directors as Francis Ford Coppola, John Cassavetes, and Steven Spielberg.
In fact, he shot two of Spielberg's TV films (Something Evil and Savage) before lensing the 1975 blockbuster Jaws.
For the shark thriller, Butler reportedly went all out, with cameras under and above the water.
(...)
Butler had a hand in many other legendary films.
He'd been a second unit photographer on the 1972 film Deliverance, reportedly shooting stunt footage and the opening-title sequence.
He also shot three Rocky sequels (Rocky II , Rocky III and Rocky IV) and pictures including Grease, The Conversation, and One Flew Over the Cuckoo's Nest, for which he earned an Oscar nomination.
(He shared it with cinematographer Haskell Wexler, who he replaced midway through production).
(...)
In 1962, Butler began shooting documentaries for William Friedkin, starting with The People vs. Paul Crump, about a young African-American prisoner on death row.
Butler's cinematography career spanned from 1962 to 2016.
The ASC honored him with a Lifetime Achievement Award in 2003.
https://www.npr.org/2023/04/06/
https://www.npr.org/2023/04/06/
Michael Crawford Chapman USA 1935-2020
Cinematographer whose work in the Martin Scorsese films Raging Bull and Taxi Driver exhibited breadth and grandeur
https://www.theguardian.com/film/2020/oct/04/
https://www.theguardian.com/film/2020/oct/04/
Edmond Richard France 1927-2018
https://en.wikipedia.org/wiki/
https://mubi.com/fr/cast/edmond-richard/films/
https://www.nytimes.com/1967/03/28/
https://www.nytimes.com/1963/02/21/
https://www.nytimes.com/1962/09/07/
https://www.nytimes.com/1962/06/17/
Robby Müller Netherlands 1940-2018
Robby Müller in 1989.
Photograph: Alamy Stock Photo
Robby Müller obituary Cinematographer who helped shape the visions of film-makers including Wim Wenders and Jim Jarmusch G Thu 5 Jul 2018 15.50 BST Last modified on Sun 22 Jul 2018 18.00 BST
https://www.theguardian.com/film/2018/jul/05/
Müller rose to venerated status in the film industry with sublime work for Wim Wenders, Jim Jarmusch and Lars von Trier
https://www.theguardian.com/film/2018/jul/04/
https://www.theguardian.com/artanddesign/2019/jun/22/
https://www.nytimes.com/2018/07/10/
https://www.theguardian.com/film/2018/jul/05/
https://www.theguardian.com/film/2018/jul/04/
https://www.nytimes.com/1996/05/10/
Walter Lassally Germany, UK 1926-2017
Oscar-winning cinematographer whose eye and innovative techniques contributed to the success of films by Tony Richardson, the Merchant Ivory group and many others
https://www.nytimes.com/2017/10/27/
https://www.nytimes.com/2017/10/27/
https://www.theguardian.com/film/2017/oct/24/
Douglas Slocombe UK 1913-2016
British cinematographer who filmed the Nazi invasion of Poland, the adventures of “Indiana Jones” and the madcap farce of Ealing Studios comedies
(...)
One of Britain’s most acclaimed cinematographers, Mr. Slocombe shot some 80 films, working with directors as varied as George Cukor, John Huston, Norman Jewison and Roman Polanski.
His career began with the famed Ealing black comedies of the late 1940s and early ’50s, and ended with three “Indiana Jones” films for Steven Spielberg.
https://www.nytimes.com/2016/02/24/
https://www.nytimes.com/2016/02/24/
Vilmos Zsigmond Hungary, USA 1930-2016
Vilmos Zsigmond, far right, filming “The Deer Hunter."
Photograph: Universal Pictures, via Photofest
Vilmos Zsigmond, Cinematographer Who Gave Hollywood Films a New Look, Dies at 85 NYT JAN. 4, 2016
http://www.nytimes.com/2016/01/05/
Hungarian-born cinematographer who helped shape the look of American movies in the 1970s, ’80s and beyond, among other things lending a hyper-real glow to the arrival of space aliens and winning an Oscar for Steven Spielberg’s 1977 science fiction extravaganza “Close Encounters of the Third Kind”
(...)
Known for creating dramatic, story-propelling images in muted colors and natural light, Mr. Zsigmond (...) referred to his desired imagery as “poetic realism.”
Along with other cinematographers, including his countryman Laszlo Kovacs, with whom he escaped the Soviet dominance of Hungary in 1956, he helped usher in a new era in the look of Hollywood movies, one in which light and color and whole images superseded the importance of making the star look gorgeous.
http://www.nytimes.com/2016/01/05/
https://www.theguardian.com/film/gallery/2019/dec/04/
http://www.nytimes.com/2016/01/05/
Haskell Wexler USA 1922-2015
one of the most inventive cinematographers in Hollywood and an outspoken political firebrand
(...)
With two Academy Awards and a star on the Hollywood Walk of Fame, Mr. Wexler was a prominent member of the artistic elite.
But he was also a lifelong advocate of progressive causes whose landmark “Medium Cool” — a fiction film shot during the 1968 Democratic National Convention in Chicago — demolished boundaries between documentary and fiction, reflecting his refusal to recognize limitations in either art or politics.
Mr. Wexler received the last Oscar that would be given for black-and-white cinematography, for “Who’s Afraid of Virginia Woolf?” (1966).
He won again a decade later for “Bound for Glory” (1976), a biography of the folk singer Woody Guthrie (whom Mr. Wexler had met during World War II, when both served in the merchant marine).
He had five Oscar nominations in all, over a career that began more than auspiciously: His first genuine credit was on an Oscar-nominated 1953 documentary short, “The Living City.”
http://www.nytimes.com/2015/12/28/
Andrew Lesnie Australia 1956-2015
Oscar-winning cinematographer who filmed Peter Jackson’s “Lord of the Rings” trilogy and three “Hobbit” movies http://www.nytimes.com/2015/04/29/movies/andrew-lesnie-cinematographer-dies-at-59.html
http://www.nytimes.com/2015/04/29/
Miroslav Ondricek Czechoslovakia, USA 1934-2015
cameraman whose intimate, realist style propelled him from Communist Czechoslovakia to a successful career in Hollywood, where he was nominated for two Academy Awards for cinematography
http://www.nytimes.com/2015/04/03/
http://www.nytimes.com/2015/04/03/
Gordon Hugh Willis USA 1931-2014
master cinematographer whose work on “The Godfather,” “Manhattan,” “Annie Hall,” “Klute,” “All the President’s Men” and other seminal movies of the 1970s made his name synonymous with that pathbreaking decade in American moviemaking
http://www.nytimes.com/2014/05/20/
https://en.wikipedia.org/wiki/
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https://www.nytimes.com/2022/02/23/
https://www.nytimes.com/2020/12/09/
http://www.nytimes.com/2014/05/20/
https://www.nytimes.com/1977/04/21/
https://www.nytimes.com/1974/12/13/
Oswald Norman Morris UK 1915-2014
British cinematographer who helped redefine the color in Technicolor with filters, fog machines and makeshift devices like the brown silk stocking he stretched over a lens for the life-in-amber look of “Fiddler on the Roof” https://www.nytimes.com/2014/03/27/arts/oswald-morris-artful-cinematographer-is-dead-at-98.html
https://www.nytimes.com/2014/03/27/
Bruce Surtees USA 1937-2012
Oscar-nominated cinematographer known as the Prince of Darkness for his skill at summoning sharply etched figures from the inky depths of prisons, nightclubs and other inhospitably lighted places
(...)
Cinematography was part of Mr. Surtees’s genetic endowment.
His father, Robert Surtees, was a cinematographer who won Oscars for “King Solomon’s Mines” (1950), “The Bad and the Beautiful” (1952) and “Ben-Hur” (1959).
The younger Mr. Surtees, born in Los Angeles on Aug. 3, 1937, was named Bruce Mohr Powell Surtees in honor of his father’s mentor Hal Mohr, also an esteemed cinematographer. http://www.nytimes.com/2012/02/29/arts/bruce-surtees-oscar-nominated-cinematographer-dies-at-74.html
http://www.nytimes.com/2012/02/29/
Jack Cardiff UK 1914-2009
film director and cinematographer
As a cinematographer, Jack Cardiff, (...) was known as "the man who makes women look beautiful".
Some of the glamorous women whose beauty he accentuated through his lens were Ava Gardner (Pandora and the Flying Dutchman, The Barefoot Contessa), Audrey Hepburn and Anita Ekberg (War and Peace) and Marilyn Monroe (The Prince and the Showgirl).
In fact, when Monroe was in London to shoot The Prince and the Showgirl with Laurence Olivier in 1956, she said of Cardiff: "He's the best cameraman in the world, and I've got him."
Cardiff was certainly one of the best colour cinematographers in the world, whose career in that capacity began with the emergence of Technicolor and continued through the golden (or rainbow) age of that process.
As camera operator on Wings of the Morning (1937), Britain's first three-strip Technicolor film, he became a colour expert and photographed many travelogue shorts as well as being second unit cameraman on The Four Feathers (1939).
However, his greatest achievement was as the cinematographer on three of Michael Powell and Emeric Pressburger's best films, A Matter of Life and Death (1946), Black Narcissus (1947), which won him an Oscar, and The Red Shoes (1948).
Cardiff's dramatic use of colour played an essential part in the success of these films, if only for the splashes of red - the red rose in the first, the nun Deborah Kerr's hair seen in flashback in the second, and Moira Shearer's hair and shoes in the third.
Cardiff's view was that a cameraman is "the man who paints the movie". http://www.theguardian.com/film/2009/apr/23/jack-cardiff-obituary
https://en.wikipedia.org/wiki/
http://www.guardian.co.uk/film/filmblog/2011/sep/23/
https://www.theguardian.com/film/2009/apr/22/
http://www.theguardian.com/film/filmblog/2009/apr/22/
http://www.guardian.co.uk/film/2009/apr/23/
https://www.nytimes.com/1958/06/15/
Frederick William Francis UK 1917-2007
Mr. Francis, who received Oscars for Jack Cardiff’s 1960 adaptation of D. H. Lawrence’s “Sons and Lovers” and for Edward Zwick’s 1989 Civil War drama “Glory,” was a product of the British studio system.
Starting out as a camera assistant in the 1930s, he moved up to camera operator after returning from service in World War II, shooting films for Michael Powell, Carol Reed and John Huston.
His first job as director of photography came in 1956 on “A Hill in Korea,” a Korean War picture in which Michael Caine made his debut.
After winning his first Oscar for cinematography, Mr. Francis turned to directing, starting what became a nearly 20-year career in horror.
Though he said he had no great liking for the genre, his direction of “Paranoiac” (1963) kept a steady stream of projects coming, including “The Skull” (1965), “The Psychopath” (1966), “Tales From the Crypt” (1972) and “The Ghoul” (1975).
Mr. Francis’s talent for creepiness, as well as his mastery of light and shadow, attracted the attention of the director David Lynch, who hired him to direct photography for his first big Hollywood project, “The Elephant Man” (1980).
Martin Scorsese later chose Mr. Francis for his skill at creating gothic atmosphere, using him as the cinematographer for the 1991 remake of “Cape Fear.”
Mr. Francis worked in other genres, too, during his second go-round as cinematographer.
In addition to “Glory,” he directed photography for Karel Reisz on “The French Lieutenant’s Woman” (1981) and for Mr. Lynch on “Dune” (1984) and “The Straight Story” (1999).
https://www.nytimes.com/2007/03/26/
As a photographer, Francis considered he had three mentors - the great cameraman Freddie Young, John Huston and Michael Powell.
His career involved a relatively high degree of black and white filming;
to some extent, his reputation was founded on it, and he once said he really didn't know anything about colour.
https://www.theguardian.com/news/2007/mar/21/
https://www.theguardian.com/film/2020/mar/12/
https://www.nytimes.com/2007/03/26/
https://www.theguardian.com/news/2007/mar/21/
Carlo Di Palma Italy 1925-2004
Italian cinematographer, renowned for his work on both color and black-and-white films, whose most famous collaborations were with Michelangelo Antonioni and Woody Allen. https://en.wikipedia.org/wiki/Carlo_Di_Palma
https://en.wikipedia.org/wiki/
https://www.nytimes.com/1986/02/07/
https://en.wikipedia.org/wiki/
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Henri Alekan France 1909-2001
In the late 1930s, as camera operator to Eugen Shüfftan, he worked on two Marcel Carné films, Quai des Brumes and Drle de Drame.
Shüfftan, the cameraman on Fritz Lang's Metropolis, became Alekan's mentor.
"I profited greatly from the magnificent lessons in lighting created by an artist.
He would say, 'Look here, I'm not doing naturalist lighting. I'm doing lighting as I feel it. Emotional lighting.'"
Alekan's views were similar.
"We should break the banality of naturalism. We get naturalism in our everyday lives. Artists are made to invent something else."
Alekan's career was interrupted by the German occupation of France during the second world war.
After escaping from a prisoner-of-war camp in 1940, he and his brother formed a resistance group called July 14, based in southern France.
The group helped people on the run from the Germans by providing shelter and false papers.
Alekan also secretly filmed German beach fortifications.
https://www.theguardian.com/news/2001/jun/19/
Gábor Pogány Hungary, Italy 1915-1999
Born in Budapest and educated in Britain, Pogányemigrated to Italy and spent much of his career in the country.
He worked on over a hundred films during his career, mainly Italian films as well as some international productions. https://en.wikipedia.org/wiki/Gábor_Pogány
https://en.wikipedia.org/wiki/
Frederick A. Young UK 1902-1998
Freddie Young, one of the world's most respected cinematographers, whose work included an elaborate series of dissolves for the montage that opens Alfred Hitchcock's ''Blackmail,'' Britain's first talkie, and the famous three-minute shot in David Lean's ''Lawrence of Arabia'' in which Omar Sharif slowly emerges from the desert mist
(...)
In his long and distinguished career, Mr. Young had a reputation for being a consummate professional, a craftsman who strove to recreate the simplicity of real life on film and who believed that filmmaking was a collaborative effort in which his job was to serve, and enhance if possible, the director's vision.
His talents were well-recognized: nominated many times for Academy Awards for cinematography, he won an Oscar three times:
for ''Lawrence of Arabia'' (1962), 'Dr. Zhivago'' (1965) and ''Ryan's Daughter'' (1970), all directed by Lean.
https://www.nytimes.com/1998/12/05/
https://www.theguardian.com/film/2017/sep/20/
https://www.theguardian.com/film/2015/nov/26/
https://www.nytimes.com/1998/12/05/
Stanley Cortez USA 1908-1997
He worked on over seventy films, including Orson Welles' The Magnificent Ambersons (1942), Charles Laughton's The Night of the Hunter (1955), Nunnally Johnson's The Three Faces of Eve (1957), and Samuel Fuller's Shock Corridor (1963) and The Naked Kiss (1964). https://en.wikipedia.org/wiki/Stanley_Cortez
https://en.wikipedia.org/wiki/
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Dale H. "Ted" Tetzlaff USA 1903-1995
https://en.wikipedia.org/wiki/
Lucien Ballard USA 1908-1988
https://en.wikipedia.org/wiki/
https://www.nytimes.com/1988/10/06/
https://www.nytimes.com/1956/05/21/
Robert L. Surtees
USA 1906-1985
http://movies2.nytimes.com/books/97/12/07/
Gilbert Warrenton USA 1894-1980
American silent and sound film cinematographer.
(...)
Notable credits include The Cat and the Canary (1927) [ and The Man Who Laughs (1928) ] and several B-movies of the 1950s and 1960s. https://en.wikipedia.org/wiki/Gilbert_Warrenton - 14 October 2020
https://en.wikipedia.org/wiki/
Russell Metty USA 1906-1978
Metty's career began around 1925 as an assistant with Standard Film Laboratory, who was then hired by Paramount Pictures working in the camera department.
He left for RKO in 1929.
He became a regular cameraman at Universal Studios, and was a regular collaborator with the German film director Douglas Sirk, making eleven films altogether with Sirk.
https://en.wikipedia.org/wiki/
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https://www.criterion.com/films/
Eugen Schüfftan Germany 1893-1977
https://www.bfi.org.uk/
https://en.wikipedia.org/wiki/
https://www.nytimes.com/2016/03/06/
https://www.nytimes.com/2009/11/15/
https://www.theguardian.com/artanddesign/2009/nov/05/
Russell B. Harlan USA 1903-1974
https://en.wikipedia.org/wiki/
https://www.nytimes.com/2013/10/06/
https://www.nytimes.com/1948/10/01/
Arthur Edeson USA 1891-1970
film cinematographer, born in New York City.
His career ran from the formative years of the film industry in New York, through the silent era in Hollywood, and the sound era there in the 1930s and 1940s.
His work included many landmarks in film history, including The Thief of Bagdad (1924), Frankenstein (1931), The Maltese Falcon (1941), and Casablanca (1942) https://en.wikipedia.org/wiki/Arthur_Edeson
https://en.wikipedia.org/wiki/
Karl W. Freund Germany 1890-1969
German Jewish cinematographer and film director best known for photographing Metropolis (1927), Dracula (1931) https://en.wikipedia.org/wiki/Karl_Freund
https://en.wikipedia.org/wiki/
https://www.nytimes.com/2016/10/30/
https://www.nytimes.com/2014/10/26/
https://www.nytimes.com/2008/07/22/
https://www.nytimes.com/2005/09/02/
https://www.nytimes.com/2004/10/19/
https://www.nytimes.com/1969/05/06/
Rudolph Maté Poland, Hungary 1898-1964
born Rudolf Mayer
Polish-Hungarian cinematographer who worked in Hungary, Austria, Germany, and France.
He collaborated with notable directors including Fritz Lang, René Clair, and Carl Theodor Dreyer, attracting notable recognition for The Passion of Joan of Arc (1928) and Vampyr (1932).
In 1935, he relocated to the United States serving as a cinematographer on notable Hollywood films, including Dodsworth (1936), Foreign Correspondent (1940), and Gilda (1946).
By 1947, Maté became a film director, with notable titles such as D.O.A. (1950), When Worlds Collide (1951), and The 300 Spartans (1962).
https://en.wikipedia.org/wiki/
https://en.wikipedia.org/wiki/
https://www.nytimes.com/1932/07/31/
Franz F. Planer 1894-1963
born as František Plánička
Austrian-born cinematographer born in Karlsbad, Austria-Hungary (now Czech Republic). https://en.wikipedia.org/wiki/Franz_Planer
https://en.wikipedia.org/wiki/
https://www.theguardian.com/film/2010/feb/07/
https://www.theguardian.com/news/2001/jun/19/
https://archive.nytimes.com/query.nytimes.com/gst/
https://www.nytimes.com/1999/06/20/
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John J. Mescall USA 1899-1962
https://www.nytimes.com/1935/05/11/
George S. Barnes USA 1892-1953
https://en.wikipedia.org/wiki/
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Gregg Wesley Toland USA 1904-1948
https://www.nytimes.com/2011/09/18/
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https://www.nytimes.com/1971/10/31/
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https://www.nytimes.com/1948/04/25/
https://www.nytimes.com/1941/05/02/
https://www.nytimes.com/1935/01/20/
Carl Hoffmann Germany 1885-1947
https://en.wikipedia.org/wiki/
https://books.google.fr/
Chester A. Lyons USA 1885-1936
https://www.nytimes.com/2008/12/09/
https://www.nytimes.com/1991/11/01/
https://www.nytimes.com/1929/07/22/
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