Atsutsa's black-and-white photography highlights Ozu's masterful use of shape, line, and space.
McCord and director Elia Kazan goose up some truly sumptuous Technicolor work with often jarring dutch angles and sneaky camera placements.
A troubled artist's life, seen through a restless, detail-oriented, documentary-like eye.
The film's evocative black-and-white work--some of the best ever, in my opinion--makes this low-budget world look incredibly lively and rich.
Di Venanzo's work here best captures Fellini's unique blending of the real and the surreal, with immutable blinding whites and startling blacks.
Hall's heroic Cinemascope work pits one man against an unforgiving, dwarfing desert backdrop.
With Savides' trained eye, we glide in and out of the halls of this doomed, eerily lit school, stalking both victims and perpetrators from fore and aft. A surprising radiant movie!
Francis' images seem as if they've been directly beamed from 19th Century Britain; despite the widescreen, each shot seems like absolutely authentic Dagurreotype work.
Incredibly influential and romantic photography; it left its eternal stamp on epics and commercials alike. Its effects are being felt on movies even today.
Gorgeous cool greens and blues overtake this strange trip into tribalism.
War as seen through a child's wide eyes, with epic movement and fantastic emotion.
Uncharacteristically open and colorful work at Ozu's behest.
Absolutely dazzling POV camerawork, which floats up above us and truly gives us a God's eye view; the dazzling colors on display here are continually not to be believed.
Lynch's dream of dark and troubling things is given life with the stark contrasts and bland greys of Elmes and Caldwell's superb lensing.
Though set in the 80s, Burum's photography (under the direction of another great cinematographer, Caleb Deschanel) makes our lead character's world into one dominated by memory and nostalgia.
Daviau's lovely camerawork gives a warm glow to Spielberg's fairy tale, punctuated with mysterious and even disturbing dark interludes.
Absolutely beautiful in every respect, and a pick of mine for some of the most impactful photography ever in movies. Just a tremendous look to this film, matched with its stupendous art direction and costume design!
Roizman's nearly trademarked blue tints are all over the autumnal Georgetown sequences, while Williams blazes through with bright oranges in the Iraq prologue. Also excellent in its role in helping sell the special effects and makeup.
Kubrick's last cameraman infuses this dreamlike tale with a surplus of reds, pinks, and purples--the colors of passion--while maintaining a continually light-dappled look appropriate for its Christmas-time setting.
Another example of an overwhelming sense of nostalgia, while in the present.
Ridiculously bright primary colors; an example of the photography being better than the actual film.
Shocking contrasts, lens choices, and angles. The use of black-and-white here sears itself into your brain, particularly in its dreamy beginning and its dreary end.
The downside of L.A., perfectly and believably captured.
Superbly huge and astounding. An underrated epic that rightfully should take its place alongside all the most notable film adventures.
I love the New York-y work here. This film looks like no other. It's simply marvelous to look at.
Definitely among the greatest of all examples of not only Nykvist's work, but of all cinematic photography, ever.
Absolutely incredible colors all throughout, in deft tribute to the Douglas Sirk look.
Roeg, taking a break from the bright colors, nailing the gloriously authentic visage of the story's time period.
Shot by shot, totally incredible. How was one person able to do this? I ask you?
Beautiful, beautiful, beautiful--perhaps some of the best cinematography ever. Each and every shot, you just want to eat it up.
Fight Club (Jeff Cronenweth, 99)
Stupendous in its portrayal of both tremendous wealth and supreme squalor.
Incredibly vidid! Like nothing else out there...the supreme representation of Dr. Suess on film.
A gorgeous, multi-colored adventure film, with Biroc's surprisingly lively lighting and camera angles.
Along with Ridley and Tony Scott's movies, the progenitor of that smoky 80s look, and extremely influential in that regard.
More sharp angles and vivid colors from the Ozu camp.
Director Carroll Ballard reteamed with his Black Stallion photographer Deschanel, with similarly sublime and inspiring results.
A fantastic story with equally glorious imagery, spread out over a millennium's expanse.
Iconic photography which defined what horror was to look like for many years to come.
Deep greens, beiges and cobalt blues dominate the first half, with reds, oranges and greys taking over the final portion of Kubrick's descent into the madness of Vietnam.
June's ridiculously adventurous and colorful camerawork constantly feels as if it's too unureal to actually exist.