With Arcadian settings that are both inviting and ominous, Beebe’s work recalls the color-saturated canvases of Maxfield Parrish.
Shot, according to Belanger, with 95% natural light, “Wild” takes place mostly outdoors, with untamed nature — in all its beauty and brutality — largely seen from protagonist Cheryl Strayed’s p.o.v. Drably lit motel rooms, murky alleyways and shabby digs seen in flashbacks are distinctly toned, aided by different lenses.
The almost clinical craftsmanship of David Fincher’s psychological murder mystery, “Gone Girl,” is strikingly aided and abetted by Cronenweth’s chiaroscuro lighting.
The Brit d.p. displays his usual mastery in the WWII saga “Unbroken,” whether it be pre-war Los Angeles, the cramped confines of a B-24 bomber or a hellish Japanese prison camp.
The grainy, sunlit noir of 1970s-era Los Angeles is captured by Paul Thomas Anderson’s favored d.p. as if through a marijuana haze.
‘Birdman or (The Unexpected Virtue of Ignorance)’
Last year’s Oscar winner for “Gravity” might even exceed that film’s technical virtuosity with “Birdman’s” restless, seemingly endless tracking shots.
Meir’s harsh, overhead lighting in “Whiplash,” particularly the framing of J.K. Simmons’ dictatorial jazz instructor, recalls the shadowy, coffinbox work of Gordon Willis in “The Godfather” films.
Pope’s color-infused approach to the Brit landscape painter’s life approximates the artist’s yellow-dominant palette and tempestuous skies.
‘Exodus: Gods and Kings’
Ancient Egypt, from the lavishly appointed court of Ramses to the torch-lit hideaways of the subjugated Hebrews, comes to eye-popping life through Wolski’s lens.
‘Selma,’ & ‘A Most Violent Year’
Young managed to evoke the early 1960s south in “Selma” and drab outer boroughs of New York during the 1980s in “Year” with equal verisimilitude.