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Cinematography often goes unnoticed, despite being a crucial aspect of filmmaking. While its purpose is well understood, the artistry behind the visuals tends to be overlooked. Despite being as impactful and essential as directors, writers, and actors, the cinematographer’s role often remains uncelebrated. To honor their contribution, we present a list of the top ten greatest and most influential cinematographers. You might also be interested in our Top 10 Cinematographic Masterpieces.
10. Kazuo Miyagawa (1908-1999)
Miyagawa is widely regarded as the most influential cinematographer in Japan’s cinematic history, having collaborated with legendary directors like Akira Kurosawa, Yasujiro Ozu, and Kenji Mizoguchi. His work on *Rashomon* is particularly renowned, where he pioneered the technique of shooting directly into sunlight after extensive study on light exposure. He was known for employing multiple camera setups and blending sweeping tracking shots with intense close-ups. He also used innovative techniques like mirrors to reflect natural light and dyed black water to simulate rain. A true master of his craft, Miyagawa worked across genres, from comedies like *The Rickshaw Man* to samurai epics like *Zatoichi*, and directed 164 cameramen and used 234 lenses for *Tokyo Olympiad*, often compared to Leni Riefenstahl’s *Olympia* as one of the finest Olympic documentaries.
You can witness some of Miyagawa’s remarkable cinematography in *Rashomon* through the following clip.
Notable films: *Rashomon* (1950), *Ugetsu* (1953), *Sansho the Bailiff* (1954), *Floating Weeds* (1959), *Yojimbo* (1961), *Zatoichi* (1964), *Tokyo Olympiad* (1965)
9. Sergei Urusevsky (1908-1974)
Though Urusevsky may not have been as prolific as some of his contemporaries, his collaboration with Russian director Mikhail Kalatozov on films like *I Am Cuba* and *The Cranes Are Flying* earned him near-legendary status among cinematographers. His revolutionary use of deep focus, dynamic tracking shots, and subjective camera perspectives was so ahead of its time that similar techniques wouldn't be seen in Western cinema for over a decade. Sadly, his work with Kalatozov was largely suppressed by Soviet propaganda, only to be rediscovered in recent years thanks to filmmakers like Martin Scorsese and Francis Ford Coppola. Urusevsky defended his unconventional style, stating, 'It has never interested me, as cameraman, to just register what is going on in front of the camera.'
The following, highly acclaimed, scene from *I Am Cuba* features one of Urusevsky's most famous tracking shots, a breathtaking, balletic sequence that showcases his innovative and blistering camerawork.
Notable films: *The Forty-First* (1956), *The Cranes Are Flying* (1957), *The Unsent Letter* (1959), *I Am Cuba* (1964)
8. Vittorio Storaro Born 1940
Vittorio Storaro, born on June 24, 1940, in Rome, is a celebrated Italian cinematographer who has won three Academy Awards. His most iconic achievement is his work on *Apocalypse Now*, for which he received his first Oscar after being given complete creative freedom by director Francis Ford Coppola to shape the film's visual aesthetic. Storaro continued to earn accolades, winning Oscars for *Reds* and *The Last Emperor*, the latter of which was directed by his longtime collaborator, Bernardo Bertolucci. He is regarded as a master of cinematography, with a distinct philosophy rooted in Johann Wolfgang von Goethe's color theory, which delves into the psychological impact colors have and how they shape our perception of different situations. Together with his son, Fabrizio Storaro, he developed the Univisium format, a unified aspect ratio of 2.00:1 for all future films and television productions.
This clip presents a scene from *The Sheltering Sky*, widely considered one of the most stunning depictions of desert cinematography ever captured on film. For a higher-quality and extended version of this sequence, click here. It’s an experience you won’t want to miss.
Notable films: *The Conformist* (1970), *Last Tango in Paris* (1972), *Apocalypse Now* (1979), *Reds* (1981), *The Last Emperor* (1987), *The Sheltering Sky* (1990)
7. Sven Nykvist 1922-2006
As Ingmar Bergman’s chosen cinematographer, Nykvist was entrusted with the difficult role of bringing the Swedish filmmaker’s striking, often surreal visions to life on screen. Despite the challenge, Nykvist was celebrated for his subtlety and simplicity, using natural lighting to enhance Bergman’s deliberate, slow-paced storytelling. While often working in Bergman’s shadow, Nykvist’s talent did not go unnoticed, earning him two Academy Awards for his work on *Cries and Whispers* and *Fanny and Alexander*. He also collaborated with renowned directors such as Roman Polanski, Woody Allen, and Andrei Tarkovsky. Nykvist was the first European cinematographer to join the American Society of Cinematographers, and in 1996, he was honored with a Lifetime Achievement Award from the ASC.
Above is a stunning scene from *Persona*. Observe how the light fades so remarkably.
Notable films: *The Virgin Spring* (1960), *Persona* (1966), *Cries and Whispers* (1973), *Fanny and Alexander* (1982), *The Sacrifice* (1986), *The Unbearable Lightness of Being* (1988)
6. Gregg Toland 1904-1948
Although his time with us was brief, Gregg Toland’s brilliance has left an enduring legacy. Toland earned five Academy Award nominations for Best Cinematography between 1936 and 1942, but it’s his collaboration with Orson Welles on *Citizen Kane* that stands as his most famous achievement. While he did not invent deep focus cinematography, he perfected it in *Citizen Kane*, allowing both foreground and background characters to be in sharp focus simultaneously. Much of the film’s visual genius—such as its low angles, high contrast, and deep shadows—was credited to Welles, but in truth, it was largely Toland’s work. Welles later admitted that Toland had secretly guided him on camera placement and lighting, helping him avoid embarrassment in front of the more experienced crew. Welles was so indebted to Toland that he insisted their names appear together in the film’s credits. Later, Toland worked on Disney’s *Song of the South*, which merged live-action footage with animation.
Here is an example of deep focus cinematography in *Citizen Kane*.
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)
5. Gordon Willis Born 1931
Gordon Willis, often referred to as ‘The Prince of Darkness’ for his mastery of rich blacks and shadowy interiors—most notably in *The Godfather* films—has earned a reputation for his groundbreaking cinematography. His work on *The Godfather* series is iconic, with Willis inventing the use of warm, amber tones to evoke a sense of nostalgia in *The Godfather Part II* and creatively recreating the look of 1920s photography for Woody Allen’s *Zelig*. His work has garnered two Academy Award nominations and widespread acclaim.
Here is a clip featuring Gordon Willis (along with others) discussing the cinematography of *The Godfather*.
Notable films: *The Godfather* (1972), *The Godfather Part II* (1974), *All the President’s Men* (1976), *Zelig* (1977), *Manhattan* (1979), *Zelig* (1983), *The Godfather Part III* (1990)
4. Christopher Doyle Born 1952
Though born in Australia, Christopher Doyle became renowned for his cinematography in Asian films, especially his collaborations with Hong Kong filmmaker Wong Kar-Wai. His work in films like *Chungking Express*, *In the Mood for Love*, and *2046* is celebrated for its bold use of vibrant colors and high saturation, cementing his place as one of the leading figures of Asian New Wave cinema. Doyle is also known as one of the few cinematographers whose fame often exceeds that of the directors he works with.
Here is a clip from *Hero*, where Christopher Doyle’s mastery of vivid colors played a key role in shaping the story.
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)
3. Charles Rosher 1885-1974
Charles Rosher was a two-time Academy Award-winning cinematographer whose career spanned from the early silent film era to the 1950s. Born in London, Rosher made history as the first cinematographer to receive an Academy Award, sharing the honor with Karl Struss in 1929. Rosher began his career as a newsreel cameraman after studying photography, and moved to the United States in 1909. He soon found work with David Horsley, who ran a production company in New Jersey. With film production relying mostly on daylight, Horsley moved his operations to Hollywood in 1911, taking Rosher with him, and opened the first movie studio in the area. This milestone made Rosher the first full-time cameraman in Hollywood. In 1913, he traveled to Mexico to document Pancho Villa’s rebellion. Rosher was a founding member of the American Society of Cinematographers in 1918, serving as the first Vice-President. During the 1920s, he became one of Hollywood’s most sought-after cinematographers, admired by stars like Mary Pickford. His collaboration with Karl Struss on F.W. Murnau’s *Sunrise* (1927) marked a key moment in cinematic history. He also earned two Eastman Medals, Photoplay’s Gold Medal, and the only fellowship ever granted by the Society of Motion Picture Engineers.
Here is a prime example of Rosher’s groundbreaking work in *Sunrise*.
Notable films: *Sunrise* (1927), *The Affairs of Cellini* (1934), *Little Lord Fauntleroy* (1936), *The Yearling* (1946), *Annie Get Your Gun* (1950), *Show Boat* (1951)
2. James Wong Howe 1899-1976
James Wong Howe's career spanned over 130 films, from the silent film era to the age of color. In the 1930s and 1940s, he was considered one of Hollywood’s most in-demand cinematographers. Howe was nominated for ten Academy Awards for cinematography, winning twice. He was among the first to experiment with deep focus photography and pioneered several techniques, such as enhancing eye visibility in black-and-white films, early dolly shots, handheld camera work, and shooting under unconventional lighting, including candlelight for *The Molly Maguires*.
This clip features striking black-and-white photography from *Hud*, a film for which James Wong Howe earned an Academy Award.
Notable films: *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)
1. Conrad L. Hall 1926-2003
Beginning with films like *Cool Hand Luke* and *Butch Cassidy and the Sundance Kid*, Conrad L. Hall was instrumental in revolutionizing filming techniques by embracing imperfections, as *Sight and Sound* noted, 'making virtues of mistakes.' Rather than reshooting to remove flaws like sunspots or dirt on the lens, Hall’s approach mirrored the ethos of the new wave in American cinema, setting a precedent for gritty, independent films. Hall also demonstrated his versatility with more refined films such as *American Beauty* later in his career. He won his first Oscar in 1969 for *Butch Cassidy and the Sundance Kid*, and another for *American Beauty* 30 years later. His third Academy Award came posthumously for *Road to Perdition*. Additionally, he received seven more nominations throughout his lifetime.
Here is a comedic moment from *Butch Cassidy and the Sundance Kid*, for which Conrad L. Hall was awarded an Oscar.
Notable films: *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)
