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Having started out as a DP, I wanted to spend some time here to enjoy a few iconic visuals. Let's start with a group I think of as the hearty, undeniable cinematographers who rendered movie images that many of us grew up adoring.


JANUSZ KAMINSKI
Polish cinematographer known for having shot all of Steven Spielberg's films for the past 17 years. Mind-blowingly beautiful work in Julian Schnabel's "The Diving Bell and the Butterfly."



View in the hospital from Julian Schnabel's "The Diving Bell and The Butterfly." A beautifully fluid approach to using lots of point-of-view shots.



The resonating red coat from "Schindler's List," another approach to point-of-view and memory.


 


ROGER DEAKINS
British DP with a knack for quirky drama, famous for filming the Coen Bros movies.



The bird's eye view of the snowy parking lot from "Fargo" opens up space but evokes a trapped feeling with no horizon.



A softness and curvaceousness makes the bright light from exteriors have an exposing quality inside the house in "Revolutionary Road."


CONRAD HALL
Legendary cinematographer, shot "Butch Cassidy and the Sundance Kid," "The Professional," and "American Beauty" to name just a few....



"Butch Cassidy and the Sundance Kid" features a certain harshness created by the suits and guns that create focal points against settings of various different textures.



A painterly quality gives "Road To Perdition" a mysterious air, with a dramatic use of pooled light and thick atmospheres.


SVEN NYKVIST
Swedish cinematographer responsible for Ingmar Bergman's beautiful films, creates tension in the most beautifully simple, elegent frames.



Bergman's "Cries And Whispers" tells volumes about the characters through interesting and unexpected compositions.



Interesting angles and use of perspective creates increasing tension in "The Tenant."


 


GORDON WILLIS
American cinematographer who shot "The Godfather" and "The Godfather Part II," as well as Woody Allen's "Annie Hall" and "Manhattan."



Setting and context have their own character in "Annie Hall."



Modern use of chiaroscuro in "The Godfather" and "The Godfather II," where sometimes we are denied access to the details of the characters' expression, deepening the sense of pending danger.


 


VILMOS ZSIGMOND
Hungarian cinematographer whose shot some of the most memorable films of the past 100 years, working with directors including Woody Allen, Steven Spielberg and Robert Altman.



"Close Encounters of the Third Kind" uses fresh compositions with dramatic use of negative space to create interest and draw us into the mystery. (This frame makes me want to stand on my tip toes to see beyond the crowd!)



In "The Long Goodbye" darkness and mystery figure out how to lurk in broad daylight, on hot sand, clear beach and beneath palm trees.


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