It could be 10th time lucky for Skyfall cinematographer Roger Deakins - but after missing out so many times, he will probably not be holding his breath.
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Joining the small crew -- Chris Patterson as chief cinematographer and myself as assistant cameraman -- are two striking athletes: Kristen "Liggy" Lignell from Lake Tahoe and Justine Van Houte from Telluride.
For that, audiences and Mr. Spielberg can thank Janusz Kaminski, a Polish-born cinematographer who got his big break shooting that picture.
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In this engrossing documentary, the independent filmmaker Robert Greene insinuates himself and his sharp-eyed cinematographer, Sean Price Williams, into the lives and labors of the performers of the independent Millennium Wrestling Federation (based in Lincolnton, North Carolina), and reveals the surprising and demanding attributes and passions of their art.
Mr. Scott and his collaborators most notably the production designer, Arthur Max, and the cinematographer, Dariusz Wolski have created data-rich interiors with 3-D displays, shimmering holograms and, in one magical scene, a sort of planetarium of the cosmos that springs up unbidden, with a little Earth drifting around the perimeter.
The director, Anton Corbijn, a Dutch-born still photographer, works in a disciplined, Precisionist style dry, hard-focus color (Martin Ruhe is the cinematographer) and long stretches of silence (the occasional gunshots are as startling as a sudden crack across the kneecap).
The cinematographer Peter Deming lights one of the blackest of all film-noir fade-outs: it traps you in an infinite night.
Bigelow and her cinematographer, Adrian Biddle, establish vivid contrasting looks for the historical and present-day action.
Polanski used the dour north coast of Germany as a substitute for the Vineyard in winter, and the cinematographer Pawel Edelman turns the constant downpour and gloom into a beautiful, slate-colored curtain a subdued but enveloping field of lies and secrecy, impenetrable to the Ghost, who is lost among power players far too clever for him.
The cinematographer John Bailey is shooting a portrait of Werner Herzog, the soulful, disaster-prone German director, at the same time that Herzog and Zak Penn, a crass American screenwriter-producer, go off to Loch Ness to make a film about our spiritual need for monsters.
Shelton and his crew (which includes cinematographer Russell Boyd and the editor Paul Seydor) have put together basketball sequences that capture the free-flowing rhythms of the game.
The elder actors conjure stifled furies with their pensive stillness and chisel-sharp diction, and Oliveira aided by the lambent evocation of gaslight by his cinematographer, Renato Berta presents them in frames of dramatic precision that evoke the enduring agonies of a vanished century.
Everyone involved in this picture seems overqualified, from the writers (Robert Towne, with Beatty) to the cinematographer (Conrad Hall) to the production designer (the late Ferdinando Scarfiotti) to the large, pointlessly high-powered supporting cast (headed by Katharine Hepburn).
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