Directores de Fotografía
Los mejores directores de fotografía.
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- Cinematographer
- Camera and Electrical Department
- Additional Crew
Cinematographer Russell Metty, a superb craftsman who worked with such top directors as John Huston, Stanley Kubrick, Steven Spielberg and Orson Welles, was born in Los Angeles on September 20, 1906. Entering the movie industry as a lab assistant, he apprenticed as an assistant cameraman and graduated to lighting cameraman at RKO Radio Pictures in 1935. Metty's ability to create effects with black-and-white contrast while shooting twilight and night were on display in two films he shot for Welles, The Stranger (1946) and the classic Touch of Evil (1958), the latter showing his mastery of complex crane shots. (Metty shot additional scenes for Welles' second masterpiece, The Magnificent Ambersons (1942), whose lighting cameraman was Stanley Cortez but had the look of Citizen Kane (1941), which was shot by Gregg Toland). At Universal in the 1950s, he enjoyed a productive collaboration with director Douglas Sirk on ten films from 1953-59, including Sirk's masterpieces Magnificent Obsession (1954) and Imitation of Life (1959), a remake of the 1934 classic (Imitation of Life (1934)). However, his collaboration with Kubrick on Spartacus (1960) proved troublesome.
A union cinematographer himself who had been an accomplished professional photographer, Kubrick exerted control over the look of his films. Kubrick gave far less leeway to his directors of photography than did traditional directors, even directors such as Welles and noted bizarre-camera-angle freak Sidney J. Furie (The Appaloosa (1966)), men who were extraordinarily active partners in crafting the look of their films. Kubrick was not deferential to his directors of photography, even to such top cameramen as Lucien Ballard and future Academy Award winners Oswald Morris and Geoffrey Unsworth. Metty and Kubrick clashed over the filming of "Spartacus," as Kubrick--with his extraordinary sense of light and effect--considered himself to be the director of photography on the film.
Ironically, it was "Spartacus" that won Metty his sole Academy Award, for color cinematography (he received his second nomination for the color cinematography on Flower Drum Song (1961)). Metty continued to work on top productions into the 1970s, including The Misfits (1961), That Touch of Mink (1962), Thoroughly Modern Millie (1967), Madigan (1968), and The Omega Man (1971). Metty also worked extensively on television, including Columbo (1971) and The Waltons (1972).
Russell Metty died on April 28, 1978, in Canoga Park, California. He was 71 years old.- Cinematographer
- Director
- Actor
While attending Stanford University in 1912, Bert Glennon was hired as an assistant cameraman, and, upon graduation, went into the film business full-time. Becoming a director of photography in 1916, Glennon became one of the industry's most respected craftsmen and worked often for such perfectionist directors as John Ford and Cecil B. DeMille. His success as a cinematographer didn't carry over to his attempts at directing, however; the few films he directed from 1928 to 1932 were increasingly mediocre, and he gave up his attempts at directing to resume his distinguished cinematography career, where he stayed until his retirement in 1963.- Cinematographer
- Camera and Electrical Department
- Additional Crew
Winton C. Hoch was born on 31 July 1905 in Storm Lake, Iowa, USA. He was a cinematographer, known for The Quiet Man (1952), Voyage to the Bottom of the Sea (1964) and The Searchers (1956). He died on 20 March 1979 in Santa Monica, California, USA.- Cinematographer
- Animation Department
- Camera and Electrical Department
Kazuo Miyagawa was born on 25 February 1908 in Kyoto, Japan. He was a cinematographer, known for Yojimbo (1961), Rashomon (1950) and Brother (1960). He was married to Kazuko ?. He died on 7 August 1999 in Tokyo, Japan.- Cinematographer
- Camera and Electrical Department
- Director
Starting out in 1924 as a lab technician at MGM, John Alton left there for Paramount to become a cameraman. He traveled to France and then to South America, where he wrote, photographed and directed several Spanish-language films. Returning to Hollywood in 1937, he soon achieved a reputation as one of the industry's most accomplished cinematographers. In 1951, he and Alfred Gilks won an Academy Award for color photography for An American in Paris (1951).- Cinematographer
- Camera and Electrical Department
- Actor
Harry Jackson was born on 15 April 1896 in Nebraska, USA. He was a cinematographer and actor, known for Mother Wore Tights (1947), The Band Wagon (1953) and Get That Girl (1932). He died on 3 August 1953 in Hollywood, California, USA.- Cinematographer
- Camera and Electrical Department
Joseph Biroc was destined to become one of the most versatile cinematographers in Hollywood, working on films of almost every genre. He started as a lab assistant in 1918, based at Paragon Studio, located in America's first 'film capital', Ft.Lee, New Jersey. From there, he moved on to the Paramount facility in Long Island as a camera assistant, and, by 1927, found himself in Hollywood. Under contract to RKO, he took on a number of jobs as second cameraman, frequently uncredited. One of his first A-grade features was the western Cimarron (1931), assisting Edward Cronjager. Serving his apprenticeship under George J. Folsey, Biroc became a fully-fledged lighting cameraman in 1940, but World War II put his career on hold.
During the war years, Biroc advanced to the rank of captain with the U.S. Army Signal Corps and was afforded the unique distinction of being the first American cameraman to film the liberation of Paris in 1944. After the war, he worked with Joseph Walker as co-director of photography on the perennial Christmas favourite It's a Wonderful Life (1946). During the 1950's, Biroc tackled a variety of subjects, ranging from the tough film noir Cry Danger (1951) to the sci-fi cult classic Red Planet Mars (1952). He also filmed the first ever movie shot in 3-D, Bwana Devil (1952). A turning point in his career came when he met the idiosyncratic director Robert Aldrich, while shooting an episode of the TV series China Smith (1952). This led to a productive collaboration, encompassing sixteen motion pictures. The most memorable of these include the brilliantly atmospheric thriller Hush...Hush, Sweet Charlotte (1964), (Biroc used candles, shadows and silhouettes to effectively convey mystery and impending danger); and the sun-drenched all-star character study, The Flight of the Phoenix (1965).
Another fruitful collaboration was with producer Irwin Allen, who hired Biroc to head the Action Unit (with Fred J. Koenekamp leading the First Unit) for the filming of his 14 million dollar disaster epic, The Towering Inferno (1974), undertaken on eight of 20th Century Fox's biggest sound stages. In charge of shooting the most dramatic (and dangerous) scenes , Biroc worked with legendary special effects men A.D. Flowers and L.B. Abbott (who was persuaded to come out of retirement for this project). Biroc employed eight cameras in tandem, covering as many angles and positions as possible, zoom lenses used to conveying a sense of movement where physical space was restrictive. Timing was also of critical importance: the LA Fire Department overseeing the security aspects of the propane-fed pyrotechnics, limited periods where the fire was at its most intense to no more than 20 to 30 seconds. Scenes had to be shot within this limited time frame. As destroyed sets were rebuilt or repaired, there were delays with continuity, sometimes over several weeks. As Biroc later remarked "it wasn't only a question of everyone and everything having to be in the right place after that long an interval of time, it was also a matter of our being able to pick up on the look and mood created by Fred's unit" (American Cinematographer, Feb. 1975). For his work on 'Towering Inferno', Biroc became - deservedly- co-recipient (with Koenekamp) of the 1974 Academy Award for Best Cinematography.
For the remainder of the decade, Biroc did some of his best work for the small screen. He imbued a sense of realism (and was accordingly nominated for an Emmy) to one of the best political mini-series ever filmed, the gripping Washington: Behind Closed Doors (1977), a fictionalisation of Watergate and the Nixon administration. In stark thematic contrast, he worked with Mel Brooks on the seminal comedy western Blazing Saddles (1974), and with Jim Abrahams and David Zucker on the equally hilarious airborne farce Airplane! (1980). With an impressive 159 credits as cinematographer to his name, Biroc retired in 1986 and was two years later awarded the ASC Lifetime Achievement Award.- Cinematographer
- Camera and Electrical Department
- Actor
Versatile Mexico City-born cinematographer Joseph Patrick MacDonald was initially trained as a mining engineer at the University of Southern California. He served a lengthy apprenticeship, starting as assistant cameraman at First National in the early 1920's before eventually graduating to first camera operator by the beginning of the following decade. He became a full director of photography only after joining 20th Century Fox in 1941, staying at this studio until 1959. He was equally adept working with black-and-white or with colour film and was skilled in every genre, from films noir, to westerns, to musicals.
Most representative of his work are the gritty films noir Call Northside 777 (1948) and Panic in the Streets (1950); and two of the most sumptuous-looking films with Marilyn Monroe at her very peak: Niagara (1953) and How to Marry a Millionaire (1953) (incidentally, the first picture shot in CinemaScope). In stark contrast, MacDonald also shot one of the most visually evocative westerns of the period, John Ford's seminal My Darling Clementine (1946)and Elia Kazan's sweeping outdoor biopic Viva Zapata! (1952), partly filmed on location in Durango, Mexico.- Cinematographer
- Camera and Electrical Department
- Second Unit Director or Assistant Director
Harold G. "Hal" Rosson, a cinematographer known for his subtle and imaginative lighting, was born in Genaseo, New York, on August 24, 1895, although some sources cite his birthday as April 6, 1895, or in 1889.
Rosson entered the movie industry in 1908 as an actor at the Vitagraph Studios in Brooklyn, New York. Eventually, he quit acting to become an assistant to director of photography Irvin Willat at the Mark Dintenfass Studios. Moving on to the Famous Players Studio in 1912, he served as a "film johnny," or jack-of-all-trades, working as an assistant, extra and handyman, while simultaneously holding down a job as an office boy in a stock brokerage. By 1914, he was employed by a small theater in Brooklyn, where his duties included being the projectionist and manning the ticket booth.
Rosson finally abandoned New York for California in December 1914 and secured employment at Metro Pictures as assistant to both property man Danny Hogan and director of photography Arthur A. Cadwell. He moved back to New York when Metro relocated there, eventually becoming a director of photography in 1915. His first film has been cited as David Harum (1915) for director Allan Dwan (film credits for cinematographers were not inaugurated until 1919, under the influence of the American Society of Cinematographers, which Rosson joined in 1927). As a cinematographer, he also worked for the Kalem Company, Famous Players and Essanay before his career was interrupted by WWI, during which he served in the army.
After being demobilized, he got a job as assistant to cinematographer H. Lyman Broening on The Dark Star (1919), which starred Marion Davies and was shot in Fort Lee, NJ. He became an employee of Davies' production company, Cosmopolitan Productions, which had been set up for her in 1918 by her lover, William Randolph Hearst. In 1920, Rosson was signed by Mary Pickford to shoot movies starring her brother, Jack Pickford.
He eventually rejoined Metro (which in 1924, merged with Goldwyn Studios and then with Louis B. Mayer Productions to become Metro-Goldwyn-Mayer), where he made his reputation. At MGM he was the lighting cameraman on Red Dust (1932), Red-Headed Woman (1932) and Bombshell (1933), on which his camera work showed off star Jean Harlow's platinum blonde look to maximum advantage. Rosson was married to Harlow for two years, from 1933 to 1935, which was indicative of his high status in the film community. In 1935 he moved to England to work for Alexander Korda's London Film Productions, but eventually he returned to MGM.
Rosson became a noted cinematographer in color, using the skills he had developed shooting in black & white to soften the palette created by the Technicolor process. Due to its need for high light levels, Technicolor often created gaudy images that resembled a child's coloring book. Rosson was able to make the colors more subtle, and was the recipient along with W. Howard Greene of an honorary Academy Award plaque for his color photography on The Garden of Allah (1936) in 1937 (the cinematography category was not split into color and B&W categories until the awards for 1939. The awards for color cinematography made for the 1936, '37, and '38 production years were awarded on the basis of a recommendation of a committee of leading cinematographers that viewed all the color pictures made during the year. For the 1967 awards, the B&W category was eliminated).
Rosson also was hailed for his photography on The Wizard of Oz (1939), for which he received the first of his five Academy Award nominations. When Rosson shot "Oz," he had the aid of two cameramen lent to MGM by Technicolor, and enjoyed the advice of Technicolor consultant Henri Jaffa, whose title was Technicolor Color Director (all early Technicolor films were overseen by a consultant from the company, to ensure that cinematographers and directors didn't use the process in ways Technicolor deemed improper and that violated its aesthetic criteria).
Ironically, four of Rosson's five Oscar nominations for best cinematography were for his B&W work. His B&W cinematography for The Asphalt Jungle (1950), for which he received his fourth Oscar nomination, is noted for creating the stark atmosphere that was central to the story and the overall success of the John Huston picture.
He retired in 1958 after shooting Onionhead (1958) for director Norman Taurog, though he returned to shoot El Dorado (1966) for Howard Hawks. In addition to shooting eight films for Allan Dwan between 1915 and 1929 and The Asphalt Jungle (1950) and The Red Badge of Courage (1951) for John Huston, Rosson also worked many times with directors Josef von Sternberg, Sam Wood, Cecil B. DeMille, W.S. Van Dyke, Howard Hawks, Mervyn LeRoy, Norman Taurog, Fred Zinnemann, and Vincente Minnelli. He shot the "The Trolley Song" number in Meet Me in St. Louis (1944) for Minnelli and On the Town (1949) and Singin' in the Rain (1952) for Gene Kelly and Stanley Donen. His most famous collaboration was with director Victor Fleming, starting in 1923 with Dark Secrets (1923) and culminating in 1939 with his work on The Wizard of Oz (1939) (in December 1938, under the direction of producer David O. Selznick, Rosson shot the burning of Atlanta sequence for Gone with the Wind (1939), for which Fleming was credited as the director).
Rosson died on September 6, 1988, in Palm Beach, Florida, well into his 90s. His long life was a fitting cap to a long and productive career.- Cinematographer
- Camera and Electrical Department
- Producer
Giorgos Arvanitis was born on 22 February 1941 in Dilofo, Kozani, Greece. He is a cinematographer and producer, known for The Swamp (1973), Such a Long Absence (1985) and Sti skia tou fovou (1988).- Cinematographer
- Camera and Electrical Department
- Actor
Takao Saitô was born on 5 March 1929 in Kyoto, Japan. He was a cinematographer and actor, known for Ran (1985), Dreams (1990) and Kagemusha: The Shadow Warrior (1980). He died on 6 December 2014 in Zama, Kanagawa, Japan.- 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.- Cinematographer
- Camera and Electrical Department
Charles Lawton Jr. was born on 6 April 1904 in Los Angeles, California, USA. He was a cinematographer, known for The Lady from Shanghai (1947), The Gallant Blade (1948) and 3:10 to Yuma (1957). He was married to Irene Thompson. He died on 11 July 1965 in Pacific Palisades, Los Angeles, California, USA.- Cinematographer
- Camera and Electrical Department
Entering films in 1923 as an assistant cameraman, Burnett Guffey was picked by John Ford to handle second-unit photography on The Iron Horse (1924). After that film, however, Guffey returned to his assistant cameraman position, a job he held until 1928, when he became a camera operator. In that capacity he photographed such major productions as Ford's The Informer (1935), Alfred Hitchcock's Foreign Correspondent (1940) and Charles Vidor's Cover Girl (1944), among others. Guffey was finally hired as a director of photography by Columbia. Highly regarded by his colleagues for his crisp imaging and superb compositions, Guffey won two Academy Awards, for From Here to Eternity (1953) and Bonnie and Clyde (1967).- Cinematographer
- Camera and Electrical Department
Trained as an electrical engineer, Joseph LaShelle entered the film industry as a lab assistant with Paramount in 1920 in order to finance entry to Stanford University. Having worked his way up to superintendent of the Paramount printing room after three years, he decided to stay on. By 1925, he was being mentored by the veteran cinematographer Charles G. Clarke under whose auspices he gained valuable experience behind the camera. Subsequently, LaShelle worked as camera operator for Metropolitan Studios, Pathe and Fox in the 1930s, often in collaboration with Arthur C. Miller. In the wake of a decade-long apprenticeship, he was promoted to full director of photography in 1943, from there on gaining a reputation as one of Hollywood's foremost stylists. His chief talent lay in his ability to employ lighting, decor, close-ups and clever camera angles to convey a grainy realistic, natural look, especially vital to the ambience of films noirs.
Another aspect of LaShelle's artistry lay in suggesting a bigger budget than was sometimes in play. This was notably the case with Laura (1944), for which he won his only Oscar. Virtually every scene takes place indoors, without significant exterior footage beyond a few basic studio shots. In the absence of streets and traffic, LaShelle nonetheless succeeded in creating a believable Park Avenue jet-set, replete with elegant apartments and swank restaurants. He did much of his best work under contract at 20th Century Fox (1943-1954) and for expert directors like Martin Ritt (The Long, Hot Summer (1958)), Otto Preminger ("Laura", Where the Sidewalk Ends (1950) and Billy Wilder (The Apartment (1960), The Fortune Cookie (1966)). He retired in 1969 and died of natural causes twenty years later, aged 89.- Cinematographer
- Director
- Producer
One of the most innovative of pioneer cameramen, Lee Garmes started his career on the East Coast with the New York Motion Picture Company, but was soon persuaded by the director Thomas H. Ince to join him in Hollywood. Garmes quickly climbed his way up the ladder, from painter's assistant to prop boy (future director Henry Hathaway shared the same duties at 'Inceville'), to camera assistant. He struck up a singularly fruitful collaboration with director Malcolm St. Clair, with whom he worked on one- and two-reel shorts. Many of these early comedies were shot on a shoe-string budget and necessitated clever improvisation, especially in the usage of lead-sheet reflectors (re-directing sunlight) which substituted for proper lighting. Garmes also introduced incandescent tungsten filament Mazda lights as a significant cost-saving venture. In 1925, now as a fully-fledged director of photography, Garmes went over to Paramount, first under contract from 1925 to 1926. He perfected his craft at First National and Warner Brothers (1927-1930), before returning to Paramount and making a significant contribution to some of the most outstanding black-and-white films made by the studio during the early and mid-1930's. His most recognizable trademark was to naturally light his sets from a northward orientation.
Said to have been influenced by the paintings of Rembrandt, Garmes showed a great flair in the use of chiaroscuro, light and shade, which enhanced the expressionistic European look of darkly exotic ventures like Morocco (1930) and Shanghai Express (1932). Both pictures were directed by Josef von Sternberg and starred one of Paramount's most bankable assets, Marlene Dietrich, flatteringly photographed by Garmes with subdued lighting amid swirling, misty backgrounds. "Shanghai Express" led to an Academy Award and established Garmes as one of the top cinematographers in the business. His career suffered a setback, however, when he was replaced by David O. Selznick months into shooting Gone with the Wind (1939) (Selznick objected to the Garmes technique of soft lighting, preferring the harsher 'picture postcard' colours). Though the first hour of GWTW was almost entirely shot by Garmes (most of it directed by George Cukor, who was also fired), he was not credited for his efforts.
Lee Garmes imbued many more seminal films of the 1940's and 50's with his own particular style, creating the romantic moods of Lydia (1941), the exotic splendour of Alexander Korda's technicolor The Jungle Book (1942) and the semi-documentary realism of William Wyler's Detective Story (1951). He became one of few cinematographers to be given additional responsibilities in directing and production and in 1972 became one of the first advocates for the use of videotape in filmmaking. Garmes was twice recipient of the Eastman Kodak Award. He served as present of the American Society of Cinematographers from 1960 to 1961.- Cinematographer
- Camera and Electrical Department
- Second Unit Director or Assistant Director
Luis Cuadrado was born in 1934 in Toro, Zamora, Castilla y León, Spain. He was a cinematographer and assistant director, known for Hay que matar a B. (1974), El amor del capitán Brando (1974) and La regenta (1974). He died on 18 January 1980 in Madrid, Spain.