DoP

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, and received thirteen nominations for the Academy Award for Best Cinematography.

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).
Nominated for 13 Oscars.

He is known for his work on Inglourious Basterds (2009), Django Unchained (2012) and Shutter Island (2010).
Won 3 Oscars.
Best Cinematography JFK (1991)
Best Achievement in Cinematography The Aviator (2004)
Best Achievement in Cinematography Hugo (2011)

Lubezki is a frequent collaborator with fellow Mexican filmmaker Alfonso Cuarón. The two have been friends since they were teenagers and attended the same film school at the National Autonomous University of Mexico. Together they have worked on six motion pictures: Sólo con tu pareja (1991), A Little Princess (1995), Great Expectations (1998), Y Tu Mamá También (2001), Children of Men (2006), and Gravity (2013).
Lubezki has been nominated for eight Academy Awards for Best Cinematography, winning three, for Gravity (2013), Birdman or (The Unexpected Virtue of Ignorance) (2014), and Выживший (2015). He is the first cinematographer in history to win three consecutive Academy Awards.
Won 3 Oscars.

He was a cinematographer, known for The Godfather (1972), The Godfather: Part II (1974) and The Godfather: Part III (1990).
In a spectacular seven-year period from 1971 to 1977, seven of the films he worked on as director of photography accumulated 39 Oscar nominations with 19 wins. Among these wins were three Best Picture winners (The Godfather (1972), The Godfather: Part II (1974) and Annie Hall (1977)) and six for acting (Jane Fonda, Marlon Brando, John Houseman, Robert De Niro, Jason Robards and Diane Keaton).
He was the cinematographer in five films that were nominated for the Best Picture Oscar: The Godfather (1972), The Godfather: Part II (1974), All the President's Men (1976), Annie Hall (1977), The Godfather: Part III (1990). Of those, The Godfather (1972), The Godfather: Part II (1974) and Annie Hall (1977) are winners in the category.

He is known for his work on Solaris (1972), Andrei Rublev (1966) and Ivan's Childhood (1962).

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.

He is known for his work on Saving Private Ryan (1998), Schindler's List (1993) and Catch Me If You Can (2002).
Won 2 Oscars.
Best Cinematography Saving Private Ryan (1998)
Best Cinematography Schindler's List (1993)

He was a cinematographer and director, known for The Cranes Are Flying (1957), I Am Cuba (1964) and Letter Never Sent (1960).

John Alcott, the Oscar-winning cinematographer best known for his collaboration with director Stanley Kubrick, was born in 1931, in Isleworth, England, the son of movie executive Arthur Alcott, who would become the production controller at Gainsborough Studios during the 1940s.
Alcott, who shot films and TV commercials for other directors in the UK, moved to the US in 1981 in order to obtain more steady work than was possible in the ailing British film industry. His non-Kubrick projects as a cinematographer included three films with director Stuart Cooper and two with Roger Spottiswoode. Alcott could not shoot Kubrick's Full Metal Jacket (1987), which commenced shooting in 1985 and -- like any Kubrick shoot -- would involved a substantial commitment of time, as Alcott was committed to other projects (Kubrick hired Douglas Milsome, who had been Alcott's focus puller on "Barry Lyndon" and "The Shining", to shoot "Jacket"). His non-Kubrick oeuvre was eccentric, and included the Canadian slasher film My Bloody Valentine (1981), but he was able to bring his outstanding visual quality to such movies as Fort Apache the Bronx (1981), The Beastmaster (1982), Under Fire (1983) and Hugh Hudson's Greystoke: The Legend of Tarzan, Lord of the Apes (1984).

Alcott suffered a massive heart attack and died on July 28, 1986, in Cannes, France. At the time of his death he was considered one of the film industry's great artist-technicians, someone who through his ability to push back the boundaries of what was technically possible, linked technology to aesthetic needs and contributed to the development of cinema as an art form. His last film, No Way Out (1987), was dedicated to his memory. The British Society of Cinematographers named one of its awards the "BSC John Alcott ARRI Award" in his honor to commemorate his role as a lighting cameraman in the development of film as an art form.

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.

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.

The favorite cinematographer of famous 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 in B-movies. 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), Alfred Hitchcockhired 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 Bros. ran out in 1953, Burks followed Hitchcock to Paramount and went on to perform 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 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'.

He is a cinematographer and actor, known for Taxi Driver (1976), Raging Bull (1980) and The Fugitive (1993).

He is known for his work on The Dark Knight (2008), Inception (2010) and The Dark Knight Rises (2012).
Won 1 Oscar Best Achievement in Cinematography Inception (2010)

He is known for his work on The Grand Budapest Hotel (2014), Moonrise Kingdom (2012) and Bridesmaids (2011).

He is known for his work on 12 Years a Slave (2013), The Place Beyond the Pines (2012) and Shame (2011).

He is known for his work on Iron Man (2008), Black Swan (2010) and Requiem for a Dream (2000).
Nominated for 1 Oscar.

He is known for his work on The Lord of the Rings: The Fellowship of the Ring (2001), The Lord of the Rings: The Return of the King (2003) and The Lord of the Rings: The Two Towers (2002).

He is known for his work on Fight Club (1999), Gone Girl (2014) and The Social Network (2010).

He is a cinematographer and director, known for The Matrix (1999), Spider-Man 2 (2004) and The Matrix Reloaded (2003).

He is a cinematographer, known for The Wolf of Wall Street (2013), Argo (2012) and Brokeback Mountain (2005).

He is known for his work on Foxcatcher (2014), Rogue One (2016) and Zero Dark Thirty (2012).

He is known for his work on Star Wars: Episode V - The Empire Strikes Back (1980), A History of Violence (2005) and Eastern Promises (2007).

Goeffrey Unsworth was one of the great cinematographers of the 20th Century, the winner of two Oscars, five BAFTA awards, and three awards from the British Society of Cinematographers for his work as a director of photography. Born in 1914 in Lancashire, England, Unsworth started in the industry in 1932 at Gaumont-British before joining Technicolor in 1937. He worked as a camera assistant and operator on a many of the most important color movies made in England.
His breakthrough into the top ranks of cinematographers was Becket (1964) in 1964, for which he received his first Academy Award nomination. He did not get Oscar-nominated for his spectacular work on 2001: A Space Odyssey (1968) because Stanley Kubrick generally was given credit for the visual style of the film, but his ability to integrate cinematography and special effects was put to great effect with Superman (1978) (1978). He was in demand for period pieces, winning his first Oscar for Bob Fosse's Cabaret (1972) and his second Oscar posthumously for shooting Roman Polanski's Tess (1979).

He is known for his work on Harry Potter and the Goblet of Fire (2005), Harry Potter and the Chamber of Secrets (2002) and Troy (2004).
Nominated for 1 Oscar.