Edward Lachman Net Worth
Edward Lachman Net Worth is
$800,000
Edward Lachman Bio/Wiki, Net Worth, Married 2018
Edward Lachman, A.S.C. (born March 31, 1948) is an American cinematographer. Lachman is mostly associated with the American independent film movement, and has served as director of photography on films by Todd Haynes (including Far From Heaven, which earned Lachman an Academy Award nomination) and I'm Not There in 2007 and Steven Soderbergh such as Erin Brockovich. His other work include Desperately Seeking Susan in 1985 as well as Robert Altman's last picture A Prairie Home Companion in 2006. Lachman has also worked on several non-American films, including two documentaries by Wim Wenders (one of which, Lightning Over Water, was shot in the United States) and La Soufrière by Werner Herzog.In 1989, Lachman co-directed a segment of the anthology film Imagining America.In 2002, Lachman co-directed the controversial Ken Park with Larry Clark. He is a member of the American Society of Cinematographers.In 2013, Lachman produced a series of videos in collaboration with French electronic duo Daft Punk, for the duo's album Random Access Memories. | Date Of Birth | March 31, 1948 |
| Place Of Birth | Morristown, New Jersey, United States |
| Profession | Cinematographer, Camera Department, Director |
| Education | Harvard University (1965), Ohio University |
| Awards | Independent Spirit Award for Best Cinematography, National Society of Film Critics Award for Best Cinematography |
| Nominations | Academy Award for Best Cinematography |
| Star Sign | Aries |
| # | Quote |
|---|---|
| 1 | [on Kodak's new Super 8 camera] The first camera I ever picked up was the Super 8 camera and it's still a joy to play and experiment with. There's always a sense of discovery with the form. I've actually used it in a number of feature films including My Family (1995), Selena (1997) and I'm Not There. (2007). [2016] |
| 2 | [on why he shot Carol (2015) on Super 16mm] Film grain. Even 35mm negative is so grainless that it almost looks digital when you go through a DI. And the same can be said obviously for the digital world. When you shoot digitally they can add grain to the film, but it doesn't operate the same way. In a digital world, everything's pixel-fixated in the same place. Grain moves. It has, I think, an anthropomorphic lity]. I like to feel, like, a pulsing of something living underneath the surface of the image. So by referencing Super 16 I felt it could harken back or it could give a reference to the way you could look at a photograph from 50 or 60 years ago, that the grain structure was different back then. And Super 16, through a DI, through a digital intermediate, would feel like looking at a photograph from the past. So that was the real idea. Then this feeling of another layer of seeing their emotions through grain captured, I thought, another emotional quality of their performance. [2015] |
| 3 | [on using Super 16mm for Carol (2015)] We wanted to capture the feeling of a different time period. You feel there's something underlying and subjugating the image. The fine grain and highlights are constantly moving from frame to frame, and the grain becomes almost another skin for the characters. This is something that lacks when shooting in digital. Film is a chemical process and digital is an electronic process, and the chemical one is closer to the human condition than electronic. [2015] |
| 4 | [on experimenting with compositions in Carol (2015)] I like to think of compositions as the architecture of the space that creates the frame. The architecture of the frame can imprison the character and make a statement of their own emotions. I never feel like we're in a close-up medium-long-shot world. I'm always looking with Todd for framing that incorporates the emotion of the scene in that space. Where you put the camera in its height in relation to space is about point of view. To me, the camera is about where you're telling the story, about who's point of view, and how you see stuff. Do you see it from Carol's point of view or Therese's? We're playing with how a frame affects the emotions of the character. I'm trying to make adjustments of the camera with their own movement and flow. [2015] |
| 5 | [on lighting strategies in Carol (2015)] My philosophy of lighting is we weren't using theatrical lighting like studio or stage lighting. We were lighting the spaces. It was important for me to use naturalistic lighting. In Far from Heaven (2002), I had to make the Universal back lot look theatrical, there was an artifice to it. In this, I was on real location creating naturalism. Cincinnati was so wonderful and was so caught up in that period that we didn't have to create something that wasn't there. [2015] |
| 6 | Often in period films there's tendency to over-romanticize the era. For example, why are the cars always clean in period films? Didn't they have dirty cars back then? Why is all furniture from that exact period? People own things that are 10 years or 20 years old. Why is it when you look through a window in a period film they are always clean? Why are we always in these perceived golden tones of the past? Simple things like that make an enormous difference. There's almost this revisionist idea that it was always a better time than we live in now. With Carol (2015), we did everything possible to not over-romanticize the period. This was a world that was coming out of World War II, where there was a great deal of insecurity. Todd Haynes wanted to reference the pre-Eisenhower period in naturalistic way. People refer to "Carol" as a melodrama, but Todd likes to think of it as a period love story. We looked at the time not through its cinema, but through its photographers that documented New York. We looked at mid-century photographers like Ruth Orkin, Esther Bubley, Helen Levitt and Vivian Maier. These women were documenting an urban landscape as they wavered between photojournalism and art photography. We also looked at Saul Leiter. He was a street photographer, but he was more like a painter. Leiter's photographs created layered compositions that are obscured by abstractions, subjects were only partially visible as his images were filled with found objects, textures and reflections. By using Leiter's approach, we are not only creating a representational view of the world, but a psychological one. The characters are hidden, but we still see them through sensual textures of reflections, weather and foggy car windows. For example, by seeing Therese (Rooney Mara) in doorways, partially viewed through windows and reflections, it's like she's just coming into focus on her own identity and her ability to form a relationship out of love. It's a visual way of showing her amorous mind - a way of letting us into her interior world. (...) The mid-century photographers were also experimenting with color photography at this time and we wanted to reference ektachrome still film stock. With early ektachrome, there wasn't a full range of color spectrum as is there is today. Ektachrome had a cooler rendition: the colors were less saturated and tended towards magentas, greens and cooler hues, so we referenced that feeling. [2015] |
| 7 | [on Carol (2015)] We opted to shoot in 16mm. We wanted to reference the photographic representation of a different era. They can recreate grain digitally now, but it's pixel-fixated. It doesn't have this anthropomorphic quality in which the grain structure in each frame is changing. The actual physical grain of film adds another expressive layer that is impacting the surface of the characters' emotional being. It has to do with how film captures movement and exposure in the frame - finer grain for highlights and larger grain for lower light areas - that gives a certain emotionality to the image that feels more human. I really believe with "Carol" that people would feel something different than if I had shot it digitally. The other important thing for me with film over the digital is the way color is portrayed. For example, if I have a cool window and warmer lights inside in the digital world they don't mix the way they do in film. With film grain, there's a crossover and contamination between warm and cool colors that I don't find digitally. Digital lacks a sense of depth in color separation the way it does in film. In film, there's these three layers, R,G,B. For me, it's almost like an etching where the light is eating into the negative when it's developed, and even though it is microscopic, it gives a depth to the image that I always feel is lacking digitally. [2015] |
| 8 | The conceit with Carol (2015) was to reach for naturalism, from shooting almost entirely on location to the stitching in Cate Blanchett's clothes. This approach was different than what Todd [director Todd Haynes] and I were reaching for with Far from Heaven (2002). That was a Sirkian look of the fifties, a world of artifice and manufactured expressionism, which is an entirely different approach to lighting...[2015] |
| 9 | My gaffer and myself were the only people old enough working on I'm Not There. (2007) that were around in the late 60s and 70s. So the references that the director Todd Haynes was referencing, he understood, but we actually lived it [laughs]. I went to art school in New York at the time, so I was very much in that world. But the other aspect of "I'm Not There" that was engaging for me was that we referenced the independent or European cinema of the 60s and 70s, of the Godard's and early New Wave films like Breathless (1960) and My Life to Live (1962). And later from the Neo-realists to directors like Fellini that were breaking away from Neo-realism and reality towards more subjective, personal cinema. So we actually, literally, referenced that specifically. The scene where Cate Blanchett is one evolution of Bob Dylan who's trying to escape his stardom and fame, and his fans, and the responsibilities that come with being a rock star references the scene in 8½ (1963) where Mastroianni is escaping, or trying to find his next film and feels the pressure of his creative process and things that are being imposed on him. Todd referenced not only the world that Dylan was living in, and how he influenced culture, but also how culture was influencing Dylan through cinema, through the politics of the Vietnam War. So these were all elements in the film that underline the storytelling, because how do you tell a story of a mythological story like Dylan?[2013] |
| 10 | The one thing that a director like Todd Haynes has said about me, is that I don't fall back on one style. That I try to reinterpret the imagery through the storytelling, through the script of what makes that script unique in itself. And I think that partly comes out of art school because I studied different forms, and thinking about how different movements in the art world created whatever they did. And so I understood that, or tried to understand that images are created out of a certain political, social, and even economic means. So for me, what's fun is how I reinvest my ideas through the script, or through the storytelling, to try and find its own language.[2013] |
| # | Fact |
|---|---|
| 1 | Member of the American Society of Cinematographers (ASC) since 1994. |
Cinematographer
| Title | Year | Status | Character |
|---|---|---|---|
| A Prairie Home Companion | 2006 | as Ed Lachman | |
| Stryker | 2004 | ||
| Cell Stories | 2004 | Documentary short | |
| Carmen Electra's Aerobic Striptease | 2003 | Video documentary | |
| Far from Heaven | 2002 | director of photography | |
| Ken Park | 2002 | as Ed Lachman, photography | |
| S1m0ne | 2002 | ||
| Sweet November | 2001 | ||
| Erin Brockovich | 2000 | as Ed Lachman | |
| The Virgin Suicides | 1999 | ||
| The Limey | 1999 | as Ed Lachman | |
| Why Do Fools Fall in Love | 1998 | as Ed Lachman | |
| Selena | 1997 | ||
| Touch | 1997 | as Ed Lachman | |
| My Family | 1995 | ||
| Horse Opera | 1993 | TV Movie | |
| Theremin: An Electronic Odyssey | 1993 | Documentary as Ed Lachman | |
| Tribeca | 1993 | TV Series director of photography - 1 episode | |
| My New Gun | 1992 | ||
| Light Sleeper | 1992 | as Ed Lachman | |
| Soldiers of Music | 1991 | Documentary | |
| London Kills Me | 1991 | ||
| Mississippi Masala | 1991 | ||
| Catchfire | 1990 | director of photography - as Ed Lachman | |
| The Local Stigmatic | 1990 | as Ed Lachman | |
| Karajan in Salzburg | 1988 | TV Special cinematography by | |
| Less Than Zero | 1987 | director of photography | |
| A Gathering of Old Men | 1987 | TV Movie director of photography | |
| Making Mr. Right | 1987 | ||
| El día que me quieras | 1986 | ||
| True Stories | 1986 | as Ed Lachman | |
| Mother Teresa | 1986 | Documentary | |
| The Little Sister | 1986 | director of photography - as Ed Lachman | |
| Stripper | 1986 | Documentary | |
| The Look | 1985 | Documentary as Ed Lachman | |
| Ornette: Made in America | 1985 | Documentary | |
| Heart of the Garden | 1985 | ||
| Tokyo-Ga | 1985 | Documentary | |
| Desperately Seeking Susan | 1985 | director of photography | |
| R.A.B.L. | 1985 | Short | |
| I played It for You | 1984 | Documentary as Ed Lachman | |
| The Last Trip to Harrisburg | 1984 | Short as Ed Lachman | |
| In Our Hands | 1984 | Documentary | |
| Portfolio | 1983 | ||
| Spaces: The Architecture of Paul Rudolph | 1983 | Documentary short | |
| Report from Hollywood | 1982 | Documentary | |
| Les petites guerres | 1982 | ||
| Say Amen, Somebody | 1982 | Documentary | |
| Lightning Over Water | 1980 | Documentary | |
| Union City | 1980 | ||
| Wings of Ash: A Dramatization of the Life of Antonin Artaud | 1978 | Short | |
| La Soufrière - Warten auf eine unausweichliche Katastrophe | 1977 | Documentary short as Ed Lachman | |
| False Face | 1977 | director of photography - as Edward Lachman Jr. | |
| The Lords of Flatbush | 1974 | ||
| Wonderstruck | 2017 | post-production | |
| Wiener-Dog | 2016 | director of photography | |
| Don't Blink - Robert Frank | 2015 | Documentary | |
| Carol | 2015 | ||
| Cathedrals of Culture | 2014 | Documentary segment "The Salk Institute", as Ed Lachman | |
| Six by Sondheim | 2013 | TV Movie documentary segment "'I'm Still Here'", as Ed Lachman | |
| Paradies: Hoffnung | 2013 | ||
| Dark Blood | 2012 | ||
| Paradies: Glaube | 2012 | ||
| Paradies: Liebe | 2012 | as Ed Lachman | |
| Mildred Pierce | 2011 | TV Mini-Series director of photography - 5 episodes | |
| Howl | 2010 | director of photography | |
| Collapse | 2009/II | Documentary as Ed Lachman | |
| Life During Wartime | 2009 | ||
| I'm Not There. | 2007 | ||
| Import Export | 2007 | ||
| Hounddog | 2007 | director of photography - as Ed Lachman | |
| The Music of Regret | 2006 | Short |
Camera Department
| Title | Year | Status | Character |
|---|---|---|---|
| The Metropolitan Opera HD Live | 2007 | TV Series cinematographer - 1 episode | |
| Dr. T & the Women | 2000 | director of photography: desert unit - as Ed Lachman | |
| 2000 Jahre Christentum | 1999 | TV Series second camera operator - 1 episode | |
| Theremin: An Electronic Odyssey | 1993 | Documentary director of photography: "Clara Rockmore" concert - as Ed Lachman | |
| Common Threads: Stories from the Quilt | 1990 | Documentary additional photographer | |
| Chuck Berry Hail! Hail! Rock 'n' Roll | 1987 | Documentary camera operator: documentary - as Ed Lachman / director of photography: concert footage | |
| Insignificance | 1985 | additional camera operator: New York - as Ed Lachman | |
| Body Rock | 1984 | additional photographer - as Ed Lachman | |
| She Dances Alone | 1981 | additional photographer - as Ed Lachman | |
| They All Laughed | 1981 | camera operator - as Ed Lachman | |
| Huie's Predigt | 1981 | TV Movie documentary second camera - as Ed Lachmann | |
| Last Embrace | 1979 | additional photographer - as Ed Lachman | |
| King of the Gypsies | 1978 | collaborating director of photography | |
| The American Friend | 1977 | assistant camera | |
| Stroszek | 1977 | camera II - as Ed Lachman | |
| How much Wood would a Woodchuck chuck... - Beobachtungen zu einer neuen Sprache | 1976 | TV Movie documentary assistant camera - as Ed Lachman | |
| Christo's Valley Curtain | 1974 | Documentary short additional photography |
Director
| Title | Year | Status | Character |
|---|---|---|---|
| In the Hearts of Africa | 2010 | Documentary | |
| Life for a Child | 2008 | Documentary short | |
| Cell Stories | 2004 | Documentary short | |
| Carmen Electra's Aerobic Striptease | 2003 | Video documentary as Ed Lachman | |
| Ken Park | 2002 | as Ed Lachman | |
| Songs for Drella | 1990 | Video | |
| Red Hot and Blue | 1990 | TV Movie segment "Ev'ry Time We Say Goodbye" | |
| Imagining America | 1989 | TV Movie episode "Get Your Kicks on Route 66" | |
| The Last Trip to Harrisburg | 1984 | Short as Ed Lachman | |
| Report from Hollywood | 1982 | Documentary |
Producer
| Title | Year | Status | Character |
|---|---|---|---|
| Cathedrals of Culture | 2014 | Documentary consulting story producer - segment "The Salk Institute", as Ed Lachman | |
| Report from Hollywood | 1982 | Documentary producer | |
| Shut Up... I'm Crying | 1970 | Short associate producer |
Actor
| Title | Year | Status | Character |
|---|---|---|---|
| Moonlight Mile | 2002 | Photographer (as Ed Lachman) |
Assistant Director
| Title | Year | Status | Character |
|---|---|---|---|
| Stroszek | 1977 | assistant director - as Ed Lachman |
Thanks
| Title | Year | Status | Character |
|---|---|---|---|
| Side by Side | 2012 | Documentary special thanks | |
| Abendlied | 2009 | Short thanks |
Self
| Title | Year | Status | Character |
|---|---|---|---|
| The 88th Annual Academy Awards | 2016 | TV Special | Himself - Nominee: Best Cinematography |
| 31st Film Independent Spirit Awards | 2016 | TV Movie | Himself - Winner (as Ed Lachman) |
| Sluizer Speaks | 2014 | Documentary | Himself |
| Side by Side Extra: Volume Three | 2014 | Documentary | Himself |
| Días de cine | 2012 | TV Series | Himself |
| Turning Darkness Into Light: The Making of 'Hounddog' | 2008 | Video documentary short | Himself |
| Art in the Twenty-First Century | 2007 | TV Series documentary | Himself |
| Stryker Diary | 2006 | Video documentary short | |
| Final 24 | 2006 | TV Series documentary | Himself - Cinematographer, Dark Blood |
| Anatomy of a Scene | 2001 | TV Series documentary | Himself |
| Report from Hollywood | 1982 | Documentary | Himself |
| Lightning Over Water | 1980 | Documentary | Himself |
Won Awards
| Year | Award | Ceremony | Nomination | Movie |
|---|---|---|---|---|
| 2016 | EDA Award | Alliance of Women Film Journalists | Best Cinematography | Carol (2015) |
| 2016 | Best Cinematography Award | British Society of Cinematographers | Best Cinematography in a Feature Film | Carol (2015) |
| 2016 | Independent Spirit Award | Independent Spirit Awards | Best Cinematography | Carol (2015) |
| 2016 | INOCA | International Online Cinema Awards (INOCA) | Best Cinematography | Carol (2015) |
| 2016 | ALFS Award | London Critics Circle Film Awards | Technical Achievement of the Year | Carol (2015) |
| 2016 | NSFC Award | National Society of Film Critics Awards, USA | Best Cinematography | Carol (2015) |
| 2015 | Austin Film Critics Award | Austin Film Critics Association | Best Cinematography | Carol (2015) |
| 2015 | BSFC Award | Boston Society of Film Critics Awards | Best Cinematography | Carol (2015) |
| 2015 | Golden Frog | Camerimage | Main Competition | Carol (2015) |
| 2015 | ICP Award | Indiewire Critics' Poll | Best Cinematography | Carol (2015) |
| 2015 | Marburg Camera Award | Marburg Camera Award | ||
| 2015 | NYFCC Award | New York Film Critics Circle Awards | Best Cinematographer | Carol (2015) |
| 2013 | Lancia Celebration of Lives Award | Biografilm Festival | ||
| 2013 | Faith Hubley Memorial Award | Provincetown International Film Festival | ||
| 2011 | Cinematographer-Director Duo Award | Camerimage | ||
| 2007 | Bronze Frog | Camerimage | Main Competition | I'm Not There. (2007) |
| 2003 | CFCA Award | Chicago Film Critics Association Awards | Best Cinematography | Far from Heaven (2002) |
| 2003 | Chlotrudis Award | Chlotrudis Awards | Best Cinematography | Far from Heaven (2002) |
| 2003 | Audience Award | Chlotrudis Awards | Best Cinematography | Far from Heaven (2002) |
| 2003 | Visionary Award | Chlotrudis Awards | ||
| 2003 | DFWFCA Award | Dallas-Fort Worth Film Critics Association Awards | Best Cinematography | Far from Heaven (2002) |
| 2003 | FFCC Award | Florida Film Critics Circle Awards | Best Cinematography | Far from Heaven (2002) |
| 2003 | Gold Derby Award | Gold Derby Awards | Cinematography | Far from Heaven (2002) |
| 2003 | Independent Spirit Award | Independent Spirit Awards | Best Cinematography | Far from Heaven (2002) |
| 2003 | IOMA | Italian Online Movie Awards (IOMA) | Best Cinematography (Miglior fotografia) | Far from Heaven (2002) |
| 2003 | NSFC Award | National Society of Film Critics Awards, USA | Best Cinematography | Far from Heaven (2002) |
| 2003 | OFTA Film Award | Online Film & Television Association | Best Cinematography | Far from Heaven (2002) |
| 2003 | OFCS Award | Online Film Critics Society Awards | Best Cinematography | Far from Heaven (2002) |
| 2002 | BSFC Award | Boston Society of Film Critics Awards | Best Cinematography | Far from Heaven (2002) |
| 2002 | Silver Frog | Camerimage | Far from Heaven (2002) | |
| 2002 | LAFCA Award | Los Angeles Film Critics Association Awards | Best Cinematography | Far from Heaven (2002) |
| 2002 | NYFCC Award | New York Film Critics Circle Awards | Best Cinematographer | Far from Heaven (2002) |
| 2002 | NYFCO Award | New York Film Critics, Online | Best Cinematography | Far from Heaven (2002) |
| 2002 | Seattle Film Critics Award | Seattle Film Critics Awards | Best Cinematography | Far from Heaven (2002) |
| 2002 | Golden Osella | Venice Film Festival | Far from Heaven (2002) | |
| 2002 | VVFP Award | Village Voice Film Poll | Best Cinematography | Far from Heaven (2002) |
| 1994 | Excellence in Cinematography Award | Hawaii International Film Festival | ||
| 1988 | Golden Precolumbian Circle | Bogota Film Festival | Best Cinematography | El día que me quieras (1986) |
Nominated Awards
| Year | Award | Ceremony | Nomination | Movie |
|---|---|---|---|---|
| 2016 | Oscar | Academy Awards, USA | Best Achievement in Cinematography | Carol (2015) |
| 2016 | BAFTA Film Award | BAFTA Awards | Best Cinematography | Carol (2015) |
| 2016 | ASC Award | American Society of Cinematographers, USA | Outstanding Achievement in Cinematography in Theatrical Releases | Carol (2015) |
| 2016 | Critics Choice Award | Broadcast Film Critics Association Awards | Best Cinematography | Carol (2015) |
| 2016 | Chlotrudis Award | Chlotrudis Awards | Best Cinematography | Carol (2015) |
| 2016 | GFCA Award | Georgia Film Critics Association (GFCA) | Best Cinematography | Carol (2015) |
| 2016 | Gold Derby Award | Gold Derby Awards | Cinematography | Carol (2015) |
| 2016 | OFTA Film Award | Online Film & Television Association | Best Cinematography | Carol (2015) |
| 2016 | Seattle Film Critics Award | Seattle Film Critics Awards | Best Cinematography | Carol (2015) |
| 2015 | ACCA | Awards Circuit Community Awards | Best Cinematography | Carol (2015) |
| 2015 | CFCA Award | Chicago Film Critics Association Awards | Best Cinematography | Carol (2015) |
| 2015 | OFCS Award | Online Film Critics Society Awards | Best Cinematography | Carol (2015) |
| 2015 | SFFCC Award | San Francisco Film Critics Circle | Best Cinematography | Carol (2015) |
| 2015 | WAFCA Award | Washington DC Area Film Critics Association Awards | Best Cinematography | Carol (2015) |
| 2014 | Best 3D Documentary Film | Camerimage | Cathedrals of Culture (2014) | |
| 2013 | Austrian Film Award | Austrian Film Award, AT | Best Cinematography (Beste Kamera) | Paradies: Liebe (2012) |
| 2012 | ASC Award | American Society of Cinematographers, USA | Outstanding Achievement in Cinematography in Motion Picture/Miniseries Television | Mildred Pierce (2011) |
| 2011 | Primetime Emmy | Primetime Emmy Awards | Outstanding Cinematography for a Miniseries or Movie | Mildred Pierce (2011) |
| 2007 | Golden Frog | Camerimage | Main Competition | I'm Not There. (2007) |
| 2005 | Jury Award | Tribeca Film Festival | Best Documentary Short | Cell Stories (2004) |
| 2003 | Oscar | Academy Awards, USA | Best Cinematography | Far from Heaven (2002) |
| 2003 | ASC Award | American Society of Cinematographers, USA | Outstanding Achievement in Cinematography in Theatrical Releases | Far from Heaven (2002) |
| 2003 | Daring Digital Award | Jeonju Film Festival | Digital Spectrum | Ken Park (2002) |
| 2003 | PFCS Award | Phoenix Film Critics Society Awards | Best Cinematography | Far from Heaven (2002) |
| 2003 | Golden Satellite Award | Satellite Awards | Best Cinematography | Far from Heaven (2002) |
| 2002 | ACCA | Awards Circuit Community Awards | Best Achievement in Cinematography | Far from Heaven (2002) |
| 2002 | Golden Frog | Camerimage | Far from Heaven (2002) | |
| 2002 | Golden Spike | Valladolid International Film Festival | Ken Park (2002) | |
| 2000 | Sierra Award | Las Vegas Film Critics Society Awards | Best Cinematography | The Virgin Suicides (1999) |
| 1993 | Independent Spirit Award | Independent Spirit Awards | Best Cinematography | Light Sleeper (1992) |
| 1987 | Independent Spirit Award | Independent Spirit Awards | Best Cinematography | True Stories (1986) |
2nd Place Awards
| Year | Award | Ceremony | Nomination | Movie |
|---|---|---|---|---|
| 2016 | ICS Award | International Cinephile Society Awards | Best Cinematography | Carol (2015) |
| 2015 | DFWFCA Award | Dallas-Fort Worth Film Critics Association Awards | Best Cinematography | Carol (2015) |
| 2015 | FFCC Award | Florida Film Critics Circle Awards | Best Cinematography | Carol (2015) |
| 2015 | LAFCA Award | Los Angeles Film Critics Association Awards | Best Cinematography | Carol (2015) |
| 2015 | SLFCA Award | St. Louis Film Critics Association, US | Best Cinematography | Carol (2015) |
| 2003 | COFCA Award | Central Ohio Film Critics Association | Best Cinematography | Far from Heaven (2002) |
Known for movies
Erin Brockovich (2000)
as Cinematographer
Carol (2015)
as Cinematographer
The Virgin Suicides (1999)
as Cinematographer
Far from Heaven (2002)
as Cinematographer