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Directors of photography biggest and best of all time: By Rajiv Jain ICS WICA, photography india, DOP
Directors of photography biggest and best of all time: By Rajiv Jain ICS WICA, photography india, DOP
Film and its meaning is one aspect movie that is usually overlooked by the average film goer. Many times when a director is known for constantly maintaining a certain style that is due in part to the contribution filmmakers. As publishers of film, filmmakers take a back seat to the directors when it comes to public perception of each of their meanings. Although it is ultimately, the middle of the directors of photography guides the tone and texture of the film by controlling the aesthetics. This is, of course, excluding art direction, costumes and scenery. A beautifully constructed sequence arrests attention with control and power, while still showing an eloquence subtle. This shows the mastery of the film is often referred to as "film." At that time the film is declaring "I am what I am. "The director of photography plays a fundamental role is to decide what this statement be transmitted.
A movie theater can often be as Significantly, it becomes a character in itself. Movies like The Sheltering Sky, Road to Perdition, and Paranoid Park is powerful and daring athleticism to help the viewer to characterize each film and, finally, to distinguish from the pack. If you'll notice all the movies on this list has at least a certain sequence that is rooted in his psyche by his overwhelming visual power and emotional significance.
Charles Rosher 1885-1974
Charles Rosher was director of photography for twice Academy Award winner who worked from the early days of silent movies through the 1950's. Born in London, was the first filmmaker to receive an Academy Award, along with 1929 co-winner Karl Struss. Rosher studied photography in his youth, but gained a reputation early as a news cameraman, before moving to the United States in 1909. Subsequently found a job working for David Horsley in his production company in New Jersey. Because early films were largely limited to the use of daylight, Horsley moved his production company to Hollywood 1911, Rosher taking with him, and opened the first movie studio there. This made the cameraman Rosher first full-time in Hollywood. In 1913 he went to Mexico for news footage of the rebellion of Pancho Villa. In 1918, he was one of the founders of the American Society of Cinematographers and the first group served as Vice President. In the 1920's was one of the most sought after Hollywood filmmakers, and a favorite of stars like Mary Pickford. His work of Karl Struss in Sunrise FW Murnau, the film 1927 is considered a landmark in filmmaking. In addition, Rosher also received two medals of Eastman (the name of George Eastman), Photoplay magazine Gold Medal, and the fellowship is only awarded each time for the Society of Engineers of the film.
Notable films: Sunrise (1927), The Affairs of Cellini (1934), Little Lord Fauntleroy (1936), The Awakening (1946), Annie Get Your Gun (1950), Show Boat (1951).
James Wong Howe 1899-1976
James Wong Howe was more than 130 films to his credit, ranging from the silent era to color. During the 1930 and 1940 was considered one of the most sought after by Hollywood filmmakers. He was nominated for ten Academy Awards Theater, winning twice. Besides being one of the first filmmakers to use photography deep focus, Howe pioneered techniques to increase the eyes on the B & W film, early platform techniques, camera techniques hand and shooting with unusual sources of light such as candlelight of Molly Maguires.
Notable movies: The Thin Man (1934), Algiers (1938), Yankee Doodle Dandy (1942), The Rose Tattoo (1955), Sweet Smell of Success (1957), The Old Man and the Sea (1958), Hud (1963), Funny Lady (1975)
Conrad L. Hall 1926-2003
Starting with films like "Cool Hand Luke and Butch Cassidy and the Sundance Kid, Hall helped free approaches to film by which, as sight and sound puts it, "the virtues of making mistakes." Spots as the sun hits the target, get dirt on the lens, or other distractions that seems to have forced reshoots in the past, but the approach of Hall exemplifies the new wave of American cinema and helped establish a model for courageous and independent films. But Hall also proved he could handle more 'virgin' images, photographs from movies like American Beauty later in career. He won his first Oscar in 1969 for Butch Cassidy and the Sundance Kid, and then had to wait 30 years for his next, "American Beauty." Her third Oscar he was awarded posthumously road to perdition. Besides that, he was nominated seven other times during his life.
Notable films: Legend Cool Hand Luke (1967), In Cold Blood (1967), Butch Cassidy and the Sundance Kid (1969), The Day of the Locust (1975), American Beauty (1999), Road to Perdition (2002)
Christopher Doyle Born 1952
Although born in Australia, Doyle made his mark photographing Asian films, especially the work of the Hong Kong director Wong Kar-Wai. His work with the director, especially films Chungking Express, In the Mood for Love and 2046, is praised for its touches of color living and high saturation, and is considered one of Asia's most important architects of New Wave cinema. He is also one of the few "superstar" managers photography, whose reputation is often higher than the directors he works with.
Notable films: Chungking Express (1994), In the Mood for Love (2000), The Quiet American (2002), Hero (2002), Infernal Affairs (2002), 2046 (2002), Paranoid Park (2007)
Gordon Willis, born 1931
Nicknamed 'The Prince of Darkness "for his fondness for the use of rich blacks and dark interiors, the most famous films The Godfather is the best known, Gordon Willis is famous for its innovative cinematography has won him two Oscar nominations and a lot of respect. His work in the Godfather films is legendary, and its innovations are pioneers in the use of hot, diffuse glows, amber to represent nostalgia for the past scenes in The Godfather II, and recreational shooting only 1920 of Woody Allen's Zelig.
Notable movies: The Godfather (1972), The Godfather II (1974), All the President's Men (1976), Zelig (1977), Manhattan (1979), Zelig (1983), The Godfather III (1990)
Gregg Toland1904-1948
Gregg Toland was not with us long, but it is a credit to its brilliance that is so revered today. Toland was nominated five times for the best picture Oscar for a period of seven years of gold, which lasted from 1936 to 1942, but it is his collaboration with Orson Welles in Citizen Kane is best remembered. Although he did not create the cinema deep approach he perfected in Citizen Kane, which allows characters in the foreground and background to be shot in care at the same time. In fact, much of visual and cinematic genius of the film - low angles, high contrast shadows - although often attributed to Welles, Toland was largely being done. Welles Toland later acknowledged that he gives advice on camera placement and lighting effects in secret so that the young director would not be embarrassed in front crew with great experience. So I was indebted to the work of Toland, Welles insisted that their names appear together in the end credits. More Later, he worked at Disney Toland South song, which combines live action with animation.
Notable films: Wuthering Heights (1939), The Grapes of Wrath (1940), The Long Voyage Home (1940), Citizen Kane (1941), How Green Was My Valley (1941), Song of the South (1946)
Sven Nykvist 1922-2006
As a cinematographer choice Ingmar Bergman, Nykvist was given the unenviable task of transforming the Swedish author surprising, often surreal images in the reality facing the camera. However, Nykvist was notable for its subtlety and simplicity, which favors natural lighting Bergman slow to complement the style of narrative rhythm. Was modest and often hides behind his impressive director, but still Nykvist was recognized for his work with two Academy Awards Cries and Whispers and Fanny and Alexander. Nykvist also worked with directors like Roman Polanski, Woody Allen and Andrei Tarkovsky. It was the first filmmaker Europe to join the American Society of Cinematographers, and received a Lifetime Achievement Award from the ASC in 1996.
Notable movies: The Fountainhead of the maiden (1960), Persona (1966), Cries and Whispers (1973), Fanny and Alexander (1982), The Sacrifice (1986), The Unbearable Lightness of Being (1988)
Vittorio Storaro Born 1940
Vittorio Storaro (born June 24, 1940 in Rome) is an Academy Award three times winning cinematographer Italian. It is famous for his work on "Apocalypse Now" (his first Oscar), where he was given free rein by Francis Ford Coppola's acclaimed film photography visual appearance. He won Oscars for Reds and The Last Emperor, which was directed by Bernardo Bertolucci, his most frequent collaborator. Storaro is widely regarded as a director of principal photography with a sophisticated philosophy largely inspired by the theory of Johann Wolfgang von Goethe color, which focuses in part on the effects psychological effects of different colors and how colors influence our perceptions of different situations. With his son, Fabrizio Storaro created the system format Univisium to unify all the rooms and future television movies in a respective 2.00:1 aspect ratio.
Notable movies: The Conformist (1970), Last Tango in Paris (1972), Apocalypse Now (1979), Reds (1981), The Last Emperor (1987), The Sheltering Sky (1990)
Sergei Urusevsky 1908-1974
Although nowhere near as prolific as others on this list, has earned Urusevsky almost mythical status among the directors of photography by working with the Russian director Mikhail Kalatozov in films like I am Cuba, The Cranes are flying. Its combination of deep focus almost incredible, acrobatic tracking shot, subjective perspective tricks and other notable film was so far ahead of its time that it would not be seen in the west to more than a decade later. Unfortunately, Kaltozov collaborations were largely buried by the Soviet propaganda machine, and have only recently been restored thanks to the fans recognized as Martin Scorsese and Francis Ford Coppola. Their spectacular camerawork, which often distracts from the proper attention from the scene, was defended by Urusevsky, saying, "Never I was interested, as a camera, to record what is happening in front of the camera. "
Notable movies: The Forty-First (1956), Cranes are flying (1957), The unsent letter (1959), Soy Cuba (1964)
Kazuo Miyagawa 1908-1999
Miyagawa is undoubtedly the most important filmmaker in the history of Japan, having worked with a who's who of Japanese auteurs, including Akira Kurosawa, Yasujiro Ozu, Kenji Mizoguchi y. He is perhaps most famous for his work in Rashomon, where he was the first person to point a camera directly to sunlight (years of study the use of light exposure). He was also known for using multiple cameras settings of scenes, and acclaimed for his follow-up contrast scanning planes and strong close-ups. Other innovations in the film include the use of mirrors to reflect natural light and use of water dyed black as rain, so it looks more live camera. It was also a master of genres, working in comedies (The rickshaw) samurai films (Zatoichi films), as well the supervision of 164 cameras and the use of more than 234 different lenses to the Tokyo Olympics, often compared to Leni Riefenstahl's Olympia, one of the great documentaries Olympic Games.
Notable films: Rashomon (1950), Ugetsu (1953), Sansho the Bailiff (1954), Floating Weeds (1959), Yojimbo (1961), Zatoichi (1964), Tokyo Olympiad (1965)
About the author: Cinemania was a reference and educational application produced by Microsoft and published annually since 1992. The software has been primarily a database of movies, similar to the Internet Movie Database, and gave descriptions of films and starred in them. Most of this information was not easily accessible before broadband Internet.
Tags : Bollywood filmmakers, famous Indian filmmakers, India top directors of photography, cinematographer, Rajeev, Rajiv, bollywood, india, jain, Kalpvriksh, Kenya, Kenya, Mumbai, cameraman, dop, dp, dubai
About the Author
Cinemania was a reference and educational application produced by Microsoft and published annually beginning in 1992. The software was mainly a database of films, in a similar fashion to the Internet Movie Database, and gave descriptions of the films and who starred in them. Most of this information was not readily accessible before broadband internet.
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