Favorite Cinematographers
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- Cinematographer
- Camera and Electrical Department
- Additional Crew
Multiple award-winning cinematographer Dean Cundey, ASC, CSC who was nominated for an Oscar for "Who Framed Roger Rabbit" and took home the BAFTA for the same film, has a career spanning decades with awards and nominations including a Primetime Emmy (2023 "The Mandalorian") a Daytime Emmy (2001 "The Face: Jesus in Art"), a Chicago Film Critics Association award ("Apollo 13"), to American Society of Cinematographers awards ("Apollo 13," "Hook"). His prolific career also includes a Lifetime Achievement Award from the ASC and a President's Award from the SOC, and he's still not done shooting. Born in Alhambra, California, Cundey spent his childhood building miniature sets and reading "American Cinematographer." Following graduation from UCLA film school, where he was taught by James Wong Howe, ASC, Cundey's first job on set was as a makeup artist on Roger Corman's "Gas!" or "It Became Necessary to Destroy the World in Order to Save It." Cundey's first assignment as a director of photography was on the revenge film "The No Mercy Man." He continued with other horror and exploitation movies, then began a collaboration with director John Carpenter on five films for which he received accolades: "Halloween," "The Fog," "Escape from New York," "The Thing" and "Big Trouble in Little China." Cundey transitioned into a collaboration with Robert Zemeckis on impressive features such as "Romancing the Stone," all three "Back to the Future" films, "Who Framed Roger Rabbit" and "Death Becomes Her." Not content to settle for that, he also dabbled in directing with his debut on "Honey, We Shrunk Ourselves" and was also the second-unit director on "Deep Rising" and "Garfield: A Tail of Two Kitties." .1946-Present
Halloween (1978)
The Thing (1982)
Death Becomes Her (1992)
Casper (1995)
The Parent Trap (1998)
The Holiday (2006)- Cinematographer
- Director
- Producer
Lubezki began his career in Mexican film and television productions in the late 1980s. His first international production was the 1993 independent film Twenty Bucks (1993), which followed the journey of a single twenty-dollar bill.
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: Love in the Time of Hysteria (1991), A Little Princess (1995), Great Expectations (1998), And Your Mother Too (2001), Children of Men (2006), and Gravity (2013). His work with Cuarón on Children of Men (2006), has received universal acclaim. The film utilized a number of new technologies and distinctive techniques. The "roadside ambush" scene was shot in one extended take utilizing a special camera rig invented by Doggicam systems, developed from the company's Power Slide system. For the scene, a vehicle was modified to enable seats to tilt and lower actors out of the way of the camera. The windshield of the car was designed to tilt out of the way to allow camera movement in and out through the front windscreen. A crew of four, including Lubezki, rode on the roof. Children of Men (2006) also features a seven-and-a-half-minute battle sequence composed of roughly five seamless edits.
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 The Revenant (2015). He is the first cinematographer in history to win three consecutive Academy Awards.1964-Present
A Little Princess (1995)
A Series of Unfortunate Events (2004)
The Tree of Life (2011)
Gravity (2013)
Knight of Cups (2015)- Cinematographer
- Camera and Electrical Department
- Additional Crew
Robert Richardson has won three Academy Awards and earned seven Academy Award nominations for his cinematography. His work on director Oliver Stone's JFK earned him his first Oscar. His second and third came with The Aviator and Hugo directed by Martin Scorsese. These two films also garnered him BAFTA nominations for Best Cinematographer.
Prior to regularly collaborating with well-known directors like Oliver Stone and Quentin Tarantino, Richardson served an apprenticeship shooting second unit on Repo Man while filming television documentaries for PBS and the BBC. His work in television led Stone to hire Richardson to shoot both Salvador and Platoon. From there, he worked almost exclusively with Stone, filming Wall Street, Born on the Fourth of July and The Doors, while occasionally branching out to shoot films like John Sayles' Eight Men Out and City of Hope.
Richardson also shot Stone's Natural Born Killers, Nixon and U-Turn. He then began collaborating with Martin Scorsese and Quentin Tarantino. Scorsese chose him as DP on 1999's Bringing Out the Dead, while Tarantino snapped him up for Kill Bill, Vol. 1 and Kill Bill, Vol. 2.
Richardson continued to make his mark as Tarantino's DP on 2012's Django Unchained and 2015's The Hateful Eight, as well as on Ben Affleck's 2016 film Live By Night. He shot Director Andy Serkis's 2017 Breathe starring Andrew Garfield and Claire Foy; 2018's Adrift for Director Balthasar Kormakur starring Shailene Woodley and Sam Claflin for STX, and 2018's A Private War for Director Matthew Heineman starring Rosamund Pike. Richardson then shot Tarantino's 2020 hit Once Upon a Time in Hollywood, which starred Leonardo DiCaprio and Brad Pitt, and 2021's Venom 2 for Sony/Director Andy Serkis.
Recent credits include 2022's Emancipation again with Fuqua for Apple Studios, 2023's Air directed by Ben Affleck for Amazon Studios, and The Equalizer 3 for Director Antoine Fuqua and for Columbia Pictures.1955-Present
Kill Bill: Vol. 1 & 2 (2003-2004)
Inglourious Bastards (2009)
Django Unchained (2012)
The Hateful Eight (2015)- Cinematographer
- Camera and Electrical Department
- Producer
Matthew Libatique is an American cinematographer. He is best known for his work with director Darren Aronofsky on the films Pi (1998), Requiem for a Dream (2000), The Fountain (2006), Black Swan (2010), Noah (2014) and Mother! (2017). He also shot Bradley Cooper's directorial debut film, A Star Is Born (2018).
Libatique also work as an cinematographer in the films Tigerland (2000), Phone Booth (2002), Iron Man (2008), Iron Man 2 (2010) and Venom (2018).
He has received two Academy Awards nominations for Best Achievement in Cinematography, one for Black Swan and the other for A Star Is Born.Pi (1998)
Requiem for a Dream (2000)
Josie and the Pussycats (2001)
Gothika (2003)
The Fountain (2006)
Black Swan (2010)
Mother! (2017)- Cinematographer
- Camera and Electrical Department
- Additional Crew
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.
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).
Deakins also worked as one of the visual consultants for Pixar's animated feature WALL-E.
In 2018 he won an Oscar for best cinematographer for his work in Blade Runner 2049.1949-Present
The Secret Garden (1993)
The Village (2004)
Hail Caesar! (2016)- Cinematographer
- Camera and Electrical Department
Distinguished American cinematographer Ernest Haller started in the industry in 1914 as an actor with Biograph after leaving his first job as a bank clerk. Within one year he discovered his true calling: being on the other side of the camera. By 1920, he had become a full director of photography and would go on to handle prestigious pictures , such as the Samuel Goldwyn-produced Stella Dallas (1925). In 1926, Haller signed with First National and was still there when the studio was absorbed by Warner Brothers in 1930. Despite prolific output, it took him several years to create a reputation, however his breakthrough eventually came with the lavishly produced period drama Jezebel (1938), starring Bette Davis.For this, he received the first of five Academy Award nominations.
It was his work on 'Jezebel' which ultimately prompted David O. Selznick to replace Lee Garmes (with whom he had creative disagreements) with Haller as principal cinematographer for his Technicolour masterpiece, Gone with the Wind (1939). Haller also shot Vivien Leigh's famous first screen test for the role of Scarlett O'Hara. Though his previous work had been almost exclusively in black-and-white, the gamble paid off handsomely, with Haller winning an Academy Award (alongside Ray Rennahan) for Best Colour Cinematography.
Following 'GWTW' , Haller shot some of the best films made at Warner Brothers during the 1940's, his work perfectly suited to the gritty studio look of its product. He was particularly effective with the strong female stars of the company, Joan Crawford and Bette Davis (shooting 14 of her pictures), meticulously balancing make-up and lighting to bringing out their best features. He created an almost expressionistic mood for films like Mildred Pierce (1945) (for which he received another Oscar nomination) and Humoresque (1946). For the remainder of his career, Haller remained at Warners. Even after his contract expired in 1951, he was recalled for special assignments such as Rebel Without a Cause (1955), shot in CinemaScope, and the psychological drama What Ever Happened to Baby Jane? (1962), reuniting him once more with Davis and Crawford, albeit this time concerned with photographing them in a decidedly unglamorous fashion. He freelanced during the remainder of the 1960's and was semi-retired when asked by James Goldstone to step in as director of photography for the second pilot of Star Trek (1966), "Where No Man Has Gone Before". Ernest Haller was killed in a car crash in October 1970, aged 74.1896-1970
Jezebel (1938)
Gone with the Wind (1939)
Mildred Pierce (1945)
Whatever Happened to Baby Jane? (1962)- Cinematographer
- Camera and Electrical Department
- Director
John R. Leonetti was born on 4 July 1956 in California, USA. He is a cinematographer and director, known for Annabelle (2014), The Conjuring (2013) and Insidious: Chapter 2 (2013).1956-Present
Dead Silence (2007)
Insidious (2010)
The Conjuring (2013)- Director
- Cinematographer
- Producer
Michael Fimognari is an American director, producer, and cinematographer, best known for his work on the To All the Boys trilogy (To All the Boys I've Loved Before (2018), To All the Boys: P.S. I Still Love You (2020), and To All the Boys: Always and Forever (2021)) and his collaboration with Mike Flanagan (The Haunting of Hill House (2018), Doctor Sleep (2019), and Midnight Mass (2021) among others).
A graduate of the Pennsylvania State University and the USC School of Cinematic Arts, Michael directed an Emmy Award-winning short film before beginning his career as a cinematographer.Oculus (2013)
Jessabelle (2014)
The Lazarus Effect (2015)
Ouija: Origin of Evil (2016)- Camera and Electrical Department
- Cinematographer
- Producer
After earning a degree in still photography from the Center for Creative Studies in Detroit, Julie moved to New York, then San Francisco, and finally settled in Los Angeles where she began her career in cinematography. Her first film, Come Nightfall, was selected to screen at Sundance in 2002. Since then, her work has been shown at film festivals around the world.The Blackcoat's Daughter (2015)
I Am the Pretty Thing That Lives In the House (2016)
The Monster (2016)- Camera and Electrical Department
- Cinematographer
James Kniest is known for The Haunting of Bly Manor (2020), American Horror Stories (2021) and Annabelle (2014).Annabelle (2014)
Hush (2016)
Within (2016)
The Bye Bye Man (2017)- Camera and Electrical Department
- Cinematographer
- Sound Department
Amy Vincent was born in 1959 in Boston, Massachusetts, USA. She is a cinematographer, known for Eve's Bayou (1997), Hustle & Flow (2005) and Black Snake Moan (2006).- Cinematographer
- Camera and Electrical Department
- Director
Bruno Delbonnel was born in 1957 in Nancy, Meurthe-et-Moselle, France. He is a cinematographer and director, known for The Tragedy of Macbeth (2021), A Very Long Engagement (2004) and Inside Llewyn Davis (2013).1957-Present
Amélie (2001)
Across the Universe (2007)
Harry Potter and the Half-Blood Prince (2009)- Cinematographer
- Camera and Electrical Department
Multi-Academy Award-nominated cinematographer (13 in all), Harry Stradling was unique in that he established his reputation both in America and in Europe. He was the nephew of Mary Pickford's cameraman Walter Stradling, who provided the connections for his first job in Hollywood. Walter died in 1918 and Harry went on to serve his apprenticeship, working on B-movies and short subjects for lesser companies, like Pathe and Arrow. In 1930, he journeyed to France where he established a fruitful collaboration with the director Jacques Feyder, working on films which have become classics of French cinema: Le grand jeu (1934), La dame aux camélias (1934) and, his first noteworthy success, bringing to life the Flemish paintings of Carnival in Flanders (1935).
The visual quality of this film so impressed producer Alexander Korda, that he hired both Feyder and Stradling for his London Films production, Knight Without Armor (1937), starring Marlene Dietrich - hired by Korda for the then princely sum of $350,000. Despite budgetary constraints, which meant that many sets had be improvised and stylised, Stradling's low key lighting gave the film an impressionistic feel and made it look more 'expensive' than it was. It ended up furthering Dietrich's career and led to other prestige assignments in England, including South Riding (1938), The Citadel (1938) and Alfred Hitchcock's Jamaica Inn (1939). With an impressive portfolio thus in hand, Stradling returned to Hollywood and soon worked with 'Hitch' again on Mr. & Mrs. Smith (1941) and Suspicion (1941). Who can forget that indelible scene of Cary Grant ascending a staircase with that suspicious glass of warmed milk for poor Joan Fontaine (the contents of the glass rendered even more dubious by being lit from the inside with a light bulb)? The ever- innovative Stradling also impressed critics and audiences alike with his application of double exposure, creating realistic-looking twins of Douglas Fairbanks Jr. for The Corsican Brothers (1941).
Between 1942 and 1949, Harry worked at MGM, where his close-ups of the changing face of Hurd Hatfield, in The Picture of Dorian Gray (1945), further established him as one of the most versatile cinematographers in the business. For Republic, he imbued Nicholas Ray's off-beat Trucolor western Johnny Guitar (1954) with an immense visual style which adds to the almost lyrical quality of the picture. Glamour and technicolour were also key ingredients in Stradling's musicals for MGM, foremost among them The Barkleys of Broadway (1949) and Guys and Dolls (1955). In 1955, Harry went across to Warner Brothers . During his nine year-long tenure there, he earned four Academy Award nominations, culminating in a second Oscar for his much lauded 70 mm filming of My Fair Lady (1964). Towards the end of his career, he contributed to boosting Barbra Streisand's, particularly through his meticulous soft-focus photography of Hello, Dolly! (1969) and Funny Girl (1968). Harry died on the job, during filming of another Streisand vehicle, The Owl and the Pussycat (1970), and was replaced by Andrew Laszlo.1901-1970
Auntie Mame (1958)
My Fair Lady (1964)
Funny Girl (1968)- Cinematographer
- Camera and Electrical Department
Descended from a wealthy family of landowners in what was then Austria-Hungary, Franz Planer understood the importance of photography as an art form early in his life. He first stood behind the camera as a portrait photographer, working out of Vienna from 1910. He soon branched out, filming newsreels in Paris and, in 1919, joined the growing German film industry as chief cameraman for Emelka (which became Bavaria Studios in 1932), in Munich. During the 1920s and early 1930's, he acquired a reputation for style, having worked as cinematographer for such distinguished directors as F.W. Murnau and Wilhelm Thiele, most of his films being commercially popular entertainments.
Anticipating the "Anschluss" - the forcible annexation of Austria by Nazi Germany under Adolf Hitler - Planer left Austria in 1937 and, using the pseudonym Frank F. Planer, sought work in Hollywood. He joined the American Society of Cinematorgaphers and was signed under contract at Columbia from 1938-45, and, again, from 1949-50 (in between working at Universal from 1947-49), filming in a variety of different genres. At this stage in his career, he often used real-life locations and shot primarily in black-and-white, in almost semi-documentary style. Like other European cinematographers, he was heavily influenced by German expressionism and used chiaroscuro lighting and stark contrasts between light and shade to achieve thematic mood requirements - particularly for films noir, such as Criss Cross (1949) and 711 Ocean Drive (1950). Planer's creative collaboration with director Max Ophüls is frequently cited as among his best work, notably the melancholic romantic drama Letter from an Unknown Woman (1948).
During the 1950s Planer was much in demand and used by many of Hollywood's top directors, including Robert Siodmak, John Huston, Edward Dmytryk and Stanley Kramer. Increasingly comfortable with color photography from 1954, Planer worked on several A-grade productions. He created a particularly realistic feel for The Caine Mutiny (1954) and The Nun's Story (1959) by utilizing sparse, functional interiors. Unusual camera angles/perspectives, tracking shots and objects inserted between camera and subject contributed to the look of the popular Breakfast at Tiffany's (1961). Planer never won an Academy Award, though he was nominated five times: for Champion (1949), Death of a Salesman (1951), Roman Holiday (1953), The Nun's Story (1959) and The Children's Hour (1961).1894-1963
Letter from an Unknown Woman (1948)
Roman Holiday (1953)
Breakfast at Tiffany's (1961)- Cinematographer
- Camera and Electrical Department
- Actor
Darius Khondji was born on 21 October 1955 in Tehran, Iran. He is a cinematographer and actor, known for Amour (2012), Se7en (1995) and Delicatessen (1991). He is married to Marianne Khondji. They have three children.Delicatessen (1991)
Seven (1995)
Panic Room (2002)
Funny Games (2007)
Okja (2017)- Cinematographer
- Camera and Electrical Department
- Director
After graduating from U.S.C. in Cinema, Moore spent several years shooting documentaries and travelogues, in addition to being Western U.S. rep (with Conrad Hall) of Arriflex cameras. He then joined Robert Gottschalk as co-founder and Exec. V.P. of Panavision Inc., in charge of design and development. Moving from manufacturing cameras into using them, Moore launched his career as DP on a TV series, followed by a string of feature films, interspersed with numerous TV commercials; shot, directed and often produced by his own production company.1925-2009
Wild In the Streets (1968)
Myra Breckinridge (1970)
Annie (1982)- Cinematographer
- Camera and Electrical Department
- Director
Cinematographer Natasha Braier was born December 11th, 1974 in Buenos Aires, Argentina, where both her parents practiced psychiatry and where she did her first studies including, as a child, dancing.Her family moved to Europe when she was 18, and where she lived in both Spain and England.She completed her degree at that time at the National Film and Television School in London ,and later moved once again, this time to Los Angeles, California, where she has been active in the industry.The Neon Demon (2016)
The Rover (2014)- Cinematographer
- Camera and Electrical Department
- Director
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. Toland had a daughter, Lothian, by his second wife and two sons, Gregg jr. and Timothy, by his third. Lothian became the wife of comic Red Skelton.1904-1948
Citizen Kane (1941)
Ball of Fire (1941)
Song of the South (1946)- Cinematographer
Distinguished veteran cinematographer John F. Seitz had eighteen patents for various photographic processes to his name. These included illuminating devices, processes for making dissolves and the matte shot, which he perfected during filming of Rex Ingram's Trifling Women (1922). Seitz started with Essanay in Chicago, then joined the St. Louis Motion Picture Company as a lab tech in 1909. Within another four years, he had progressed to director of photography. He was signed by Metro in 1920, doing his best work in collaboration with Ingram, most notably on The Four Horsemen of the Apocalypse (1921) and The Prisoner of Zenda (1922). Personally selected by William Randolph Hearst, Seitz was also behind the camera for The Patsy (1928), one of the major hits for Hearst's mistress, Marion Davies. By this time, he was the highest paid cinematographer in Hollywood.
Seitz's trademark was low key lighting and differentially illuminating different regions of the screen (ie. background, foreground and middle). His colour photography was characterised by a tendency to favor tan or beige as backgound colours, and vivid colours for costumes or props. Seitz's career in the 1930's, spent at 20th Century Fox (1931-36) and MGM (1937-40), was generally unremarkable. However, he enjoyed a massive resurgence at Paramount (1941-52), working on some of the best films made by Preston Sturges (Sullivan's Travels (1941), Hail the Conquering Hero (1944) and The Miracle of Morgan's Creek (1943)) and Billy Wilder (Double Indemnity (1944), The Lost Weekend (1945) and Sunset Boulevard (1950)). Add to that another two excellent films noir, This Gun for Hire (1942) and Lucky Jordan (1942) - both directed by Frank Tuttle and starring Alan Ladd. He was a master at creating atmosphere through ominous shadows and looming close-ups.1892-1979
Sullivan's Travels (1941)
Double Indemnity (1944)
Sunset Boulevard (1950)- Cinematographer
- Camera and Electrical Department
- Art Department
It Follows (2014)
Split (2016)- Cinematographer
Andrew Boylan is known for Haunt Me (2017) and Below the Trees (2018).Haunt Me (2017)
Below the Trees (2018)- Cinematographer
- Camera and Electrical Department
- Animation Department
Holidays (2016)
Buster's Mal Heart (2016)- Camera and Electrical Department
- Cinematographer
- Visual Effects
Denys N. Coop was born on 20 July 1920 in Reading, Berkshire, England, UK. He was a cinematographer, known for Superman (1978), The Third Man (1949) and Superman II (1980). He died on 16 August 1981 in Hertfordshire, England, UK.Bunny Lake Is Missing (1965)- Cinematographer
- Special Effects
- Editorial Department
The favorite cinematographer of legendary 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 on B-pictures. 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), Hitchcock hired 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 Brothers expired in 1953, Burks followed Hitchcock to Paramount and went on to play 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 inevitably 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'.1909-1968
Rear Window (1954)
Vertigo (1958)
The Birds (1963)