If there\u2019s one thing that stands out about both Janusz Kami\u0144ski<\/a>\u2019s career and cinematography, it\u2019s the sheer magnitude and range of his abilities. Starting with Grim Prairie Tales<\/em><\/a> in 1990, a small budget indie horror film, Kami\u0144ski has worked at a staggering rate, often completing several projects a year. He’s heading into four decades of prolific creation.<\/p>\n And while Kami\u0144ski has worked with several big name directors like Cameron Crowe<\/a> (Jerry Maguire<\/em><\/a>), Judd Apatow<\/a> (Funny People<\/em><\/a>), and James L. Brooks<\/a> (How Do You Know<\/em><\/a>), Kami\u0144ski will perhaps always be best known as the right-hand man to perennial Hollywood auteur Steven Spielberg<\/a> \u2014 with whom Kami\u0144ski has collaborated on 18 films (and counting).<\/p>\n From his first big break with Spielberg on Schindler’s List<\/em><\/a>, Kami\u0144ski has partnered with the blockbuster director throughout a later career resurgence. Their work includes a wide range of projects and hits, from gritty war films like Saving Private Ryan<\/em><\/a>, to high-concept action sci-fis like Minority Report<\/em><\/a>, to acclaimed biopics like Lincoln<\/em><\/a>, and even 3D animated journeys like The Adventures of Tintin<\/em><\/a>.<\/p>\n Along the way, as a dutiful partner to Spielberg\u2019s obvious and all-around talents for storytelling, Kami\u0144ski has been able to similarly adapt his cinematography stylings to fit projects and narratives of all sorts. Still, at the heart of his work, many of his core cinematography principles stay the same, forming guiding light all cinematographers and filmmakers can follow when facing wide-ranging projects and advancing technologies.<\/p>\n
\nStarting in Light and Darkness<\/h3>\n