Cinematography is photography. Look at these images from movies and try to see them as still photographs, frozen moments from real life.
They are by Boris Kaufmann, one the most successful cinematographers, who received an Oscar for his first Hollywood film, On the Waterfront, in 1954. He worked with director Elia Kazan on three films and then had a long partnership with Sidney Lumet on such films as The Pawnbroker, The Fugitive Kind and Twelve Angry Men, which you see here.
Kaufmann was a master of black & white, getting a sharp silvery quality onto the screen, and his meticulous lighting created beautiful patterns and textures that brought life to the story. He often shot close on wide-angle lenses to achieve intimacy as though he was following war photographer Robert Capa’s dictum, “If your pictures aren’t good enough, you’re not close enough.”
Before his glittering Hollywood career, Kaufmann had an earlier one as a leading cinematographer of French cinema in the 1920s and 30s. He prospered in the golden age of French cinema, which he helped create, working with such greats as Abel Gance and Jean Vigo.
Frame still from Jean Vigo’s L’Atalante, 1931
Kaufmann had an extraordinary life story. Born in Poland in 1906, his brother was Dziga-Vertov, the legendary Soviet director of Man with a Movie Camera which was voted one of the ten best films ever made in 2012. His oldest brother Mikhail was also a cinematographer and worked on that film. Boris Kaufmann left Soviet Russia in 1927 to avoid the Stalinist repression and moved to Paris with his parents. When World War II approached he escaped the Nazis and moved in Canada. You could say he was a survivor.
When he moved to the US, though, he was stymied by the film industry unions and had to pick up work in shorts and trade documentaries. It took years to regain his position until Elia Kazan gave him the job of shooting On the Waterfront (also on the list of best films).