A Clockwork Orange

A Clockwork Orange (1971)

DP: John Alcott, BSC
Arriflex 35 BL3 • Zeiss Super Speed lenses • Natural light philosophy
Pat Garrett and Billy the Kid

Pat Garrett and Billy the Kid (1973)

DP: John Coquillon
Panavision Panaflex • Natural lighting • Western landscape
The Exorcist

The Exorcist (1973)

DP: Owen Roizman, ASC
Panavision Panaflex • Practical lighting • Horror atmosphere
Serpico

Serpico (1973)

DP: Arthur J. Ornitz, ASC
Panavision cameras • Warm lighting • NYC locations
Barry Lyndon

Barry Lyndon (1975)

DP: John Alcott, BSC
NASA Zeiss f/0.7 lens • Candlelight only • Natural light mastery
Taxi Driver

Taxi Driver (1976)

DP: Michael Chapman, ASC
Arriflex 35 BL • Zeiss Super Speed • Urban alienation
Alien

Alien (1979)

DP: Derek Vanlint, CSC
Panavision Panaflex • Aircraft landing lights • Smoke and atmosphere
Apocalypse Now

Apocalypse Now (1979)

DP: Vittorio Storaro, ASC, AIC
Technovision cameras • Color temperature progression • Symbolic lighting
The Shining

The Shining (1980)

DP: John Alcott, BSC
Arriflex 35 BL • Steadicam innovation • Kubrick precision
The Road Warrior

The Road Warrior (1981)

DP: Dean Semler, ACS, ASC
Panavision Panaflex • Desert photography • Action cinematography
Blade Runner

Blade Runner (1982)

DP: Jordan Cronenweth, ASC
Panavision Panaflex • Smoke and neon • Noir future
Fast Times at Ridgemont High

Fast Times at Ridgemont High (1982)

DP: Matthew F. Leonetti, ASC
Panavision Panaflex • Natural lighting • 80s teen comedy style
Scarface

Scarface (1983)

DP: John A. Alonzo, ASC
Panavision Panaflex • Miami neon • 80s excess
Blood Simple

Blood Simple (1984)

DP: Barry Sonnenfeld
Arriflex 35 BL • Wide angle lenses • Coen Brothers debut
Repo Man

Repo Man (1984)

DP: Robby Müller, NSC, BVK
Arriflex 35 BL • Neon lighting • Punk aesthetic
This Is Spinal Tap

This Is Spinal Tap (1984)

DP: Peter Smokler
16mm handheld • Documentary style • Rock concert lighting
Blue Velvet

Blue Velvet (1986)

DP: Frederick Elmes, ASC
Arriflex 35 BL3 • J-D-C anamorphic • Surface beauty to darkness
River's Edge

River's Edge (1986)

DP: Frederick Elmes, ASC
Arriflex 35 BL • Natural lighting • Pacific Northwest atmosphere
Salvador

Salvador (1986)

DP: Robert Richardson, ASC
16mm handheld • Documentary style • War zone realism
Drugstore Cowboy

Drugstore Cowboy (1989)

DP: Robert D. Yeoman, ASC
Arriflex 35 BL • Natural lighting • Pacific Northwest atmosphere
Naked Lunch

Naked Lunch (1991)

DP: Peter Suschitzky, ASC, BSC
Arriflex 35 BL • Zeiss Super Speed • Surreal lighting design
Bad Lieutenant

Bad Lieutenant (1992)

DP: Ken Kelsch, ASC
Arriflex 35 BL • Available light • Gritty urban realism
Dazed and Confused

Dazed and Confused (1993)

DP: Lee Daniel
Panavision Panaflex • Natural lighting • Handheld documentary style
Three Colors Blue

Three Colors Blue (1993)

DP: Slawomir Idziak
Arriflex 35 BL • Blue color palette • Emotional lighting
Heat

Heat (1995)

DP: Dante Spinotti, ASC, AIC
Panavision Panaflex • Anamorphic lenses • LA night photography
Kids

Kids (1995)

DP: Eric Alan Edwards
16mm handheld • Natural lighting • Verite documentary style
Boogie Nights

Boogie Nights (1997)

DP: Robert Elswit, ASC
Panavision Panaflex • Steadicam work • 70s/80s period lighting
American History X

American History X (1998)

DP: Tony Kaye (Director/DP)
35mm film • High contrast B&W flashbacks • Documentary style
Audition

Audition (1999)

DP: Hideo Yamamoto
16mm film • Natural lighting • Japanese minimalism
Fight Club

Fight Club (1999)

DP: Jeff Cronenweth, ASC
Arriflex 435 • Zeiss Super Speed • Green/amber color scheme
American Psycho

American Psycho (2000)

DP: Andrzej Sekula, ASC
Panavision Panaflex • Cool color temperature • Sterile aesthetic
Dancer in the Dark

Dancer in the Dark (2000)

DP: Robby Müller, NSC, BVK
100 digital cameras • DV format • Musical vs. reality contrast
Memento

Memento (2000)

DP: Wally Pfister, ASC
Arriflex 435 • Zeiss Super Speed • Color vs B&W narrative
Requiem for a Dream

Requiem for a Dream (2000)

DP: Matthew Libatique, ASC
Arriflex 435 • Zeiss Super Speed • Macro lens work
Eastern Promises

Eastern Promises (2007)

DP: Peter Suschitzky, ASC
Arriflex 435 • Zeiss Master Prime • Cold London atmosphere
No Country for Old Men

No Country for Old Men (2007)

DP: Roger Deakins, ASC, BSC
Arriflex 435 • Zeiss Master Prime • Desert minimalism
Let the Right One In

Let the Right One In (2008)

DP: Hoyte van Hoytema, FSF, NSC, ASC
Arriflex 435 • Zeiss Master Prime • Swedish winter atmosphere
The Hurt Locker

The Hurt Locker (2008)

DP: Barry Ackroyd, BSC
16mm handheld • Documentary style • War zone realism