George Barnes

About George Barnes

Who is it?: cinematographer, camera_department
Birth Day: October 16, 1892
Birth Place: USA
Birth Name: George Scott Barnes
Nick Names:

George Barnes

Veteran cinematographer George S. Barnes had a well-earned reputation for reliability and a knack for combining artistry with economic efficiency. As a result, he was seldom out of work.Having started as a still photographer for Thomas H.
George Barnes is a member of Cinematographer

Does George Barnes Dead or Alive?

As per our current Database, George Barnes is still alive (as per Wikipedia, Last update: May 10, 2020).

🎂 George Barnes - Age, Bio, Faces and Birthday

Currently, George Barnes is 129 years, 1 months and 12 days old. George Barnes will celebrate 130rd birthday on a Sunday 16th of October 2022. Below we countdown to George Barnes upcoming birthday.

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Popular As George Barnes
Occupation Cinematographer
Age years old
Zodiac Sign Libra
Born October 16, 1892 (USA)
Birthday October 16
Town/City USA
Nationality USA

🌙 Zodiac

George Barnes’s zodiac sign is Libra. According to astrologers, People born under the sign of Libra are peaceful, fair, and they hate being alone. Partnership is very important for them, as their mirror and someone giving them the ability to be the mirror themselves. These individuals are fascinated by balance and symmetry, they are in a constant chase for justice and equality, realizing through life that the only thing that should be truly important to themselves in their own inner core of personality. This is someone ready to do nearly anything to avoid conflict, keeping the peace whenever possible

🌙 Chinese Zodiac Signs

George Barnes was born in the Year of the Dragon. A powerful sign, those born under the Chinese Zodiac sign of the Dragon are energetic and warm-hearted, charismatic, lucky at love and egotistic. They’re natural born leaders, good at giving orders and doing what’s necessary to remain on top. Compatible with Monkey and Rat.

Veteran cinematographer George S. Barnes had a well-earned reputation for reliability and a knack for combining artistry with economic efficiency. As a result, he was seldom out of work.

Having started as a still photographer for Thomas H. Ince in 1918, Barnes quickly rose through the ranks to director of photography. In the course of his career he spent time at just about every major studio in Hollywood: Paramount (1919-21), Metro (1924-25), United Artists (1926-31), MGM (1932), Warner Brothers (1933-38), 20th Century-Fox (1940-41), Universal (1942) and RKO (1942-48). During the 1920s he was the primary cinematographer for Samuel Goldwyn and was largely responsible for the success of films like The Dark Angel (1925). Under his auspices Gregg Toland learned his craft, particularly Barnes' trademark soft-edged, deep-focus photography and intuitive composition and camera movement. Barnes was an expert at lighting. He often utilized curtains or reflective surfaces to create patterns of light and shade. Most importantly, he perfectly suited the required style of photography to each individual assignment. He brought a vivid opulence to the dullish Technicolor romance Frenchman's Creek (1944), making it a triumph of style over content. His 'catoon colours' were just as perfectly suited to the fantasy adventure Sinbad, the Sailor (1947). At Warner Brothers the dark, somewhat grainy texture of films like Gebrandmerkt (1937) was in sync with the realistic look the studio wanted to achieve for its product. He also excelled at shooting vivid dramatic scenes, such as the flood sequences featured in The Winning of Barbara Worth (1926).

Barnes did his best work in the 1940s, shooting two classic Alfred Hitchcock thrillers: for Rebecca (1940) he created an atmosphere of sinister foreboding, right from the beginning, with his shots of Manderley (Barnes was hired because Toland was unavailable, but he ended up winning an Academy Award); and Spellbound (1945), with its unsettling surrealist Salvador Dalí-designed dream sequence of wheels, eyes and staircases. A lesser, but nonetheless good-looking, addition to Barnes' resume is a minor film noir, The File on Thelma Jordon (1950). In contrast, he created a suitably lavish look for his color photography, which enlivened two charismatic swashbuckling adventures, The Spanish Main (1945) and Sinbad, the Sailor (1947). Popular with directors and producers (though he was once fired by David O. Selznick for failing to bring the best out of Jennifer Jones) and stars (Bing Crosby) alike, Barnes was continually employed until his retirement in 1953. He was also popular with the ladies, to which his seven marriages testify. One of his wives was the actress Joan Blondell.

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