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Karl Struss (1886–1981)

Oscar-winning cinematographer Karl Struss was born on November 30, 1886, in New York City. He became a professional photographer after studying photography with Clarence H. White and became part of the group associated with the great photographer Alfred Stieglitz. His photographs, which he characterized as "pictorial" rather than "fashion", were ... See full bio »

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Won 1 Oscar. Another 1 win & 3 nominations. See more awards »


Known For

Sunrise Cinematographer
Dr. Jekyll and Mr. Hyde Cinematographer
The Great Dictator Cinematographer
Aloma of the South Seas Cinematographer


Hide Hide Show Show Cinematographer (147 credits)
 1959 Counterplot (director of photography)
 1959 The Alligator People (director of photography)
 1959 The Rebel Set
 1959 The Sad Horse
 1958 Machete
 1958 The Hot Angel
 1958 The Fly (director of photography)
 1957 Kronos (director of photography)
 1957 She Devil (director of photography)
 1956-1957 Broken Arrow (TV Series) (13 episodes)
- Apache Massacre (1957)
- The Raiders (1956)
- The Conspirators (1956)
- Cry Wolf (1956)
 1956 The 20th Century-Fox Hour (TV Series) (1 episode)
  My Friend Flicka (TV Series) (7 episodes, 1956) (director of photography - 17 episodes, 1955 - 1956)
- Big Red (1956)
- Lost River (1956)
- The Recluse (1956)
- When Bugles Blow (1956)
- The Medicine Man (1956)
 1956 Mohawk (photography)
 1955 Cavalcade of America (TV Series) (1 episode)
 1954 Two Nights with Cleopatra (as Carlo Struss, photography)
 1953 Fatal Desire
 1953 Domenica a Capri (Short)
 1953 Mesa of Lost Women (director of photography)
 1952 Face to Face (uncredited)
 1952 Limelight (director of photography)
 1952 Rose of Cimarron (director of photography)
 1952 Lady Possessed (director of photography)
 1951 The Buster Keaton Show (TV Series) (director of photography - 1 episode)
- Buster in Training (1951) ... (director of photography)
 1951 Tarzan's Peril (director of photography)
 1950 The Texan Meets Calamity Jane (director of photography)
 1950 The Return of Jesse James (director of photography)
 1950 Rocketship X-M (director of photography)
 1949 Hello Out There (Short)
 1949 Call of the Forest (as Karl O. Struss)
 1949 Bad Boy
 1949 Tarzan's Magic Fountain (photography)
 1947 Heaven Only Knows (director of photography)
 1946 Mr. Ace
 1946 Suspense
 1946 Tarzan and the Leopard Woman (photography)
 1945 Wonder Man (director of photography - uncredited)
 1944 Fun Time (Short)
 1943 Riding High
 1943 Journey Into Fear (director of photography)
 1940 The Great Dictator (director of photography)
 1939 Zenobia (photography)
 1938 Sing, You Sinners (photography)
 1937 Thunder Trail
 1936 Hollywood Boulevard (photographed by)
 1936 Anything Goes
 1935 Goin' to Town
 1935 Mississippi (replaced, uncredited)
 1934 Four Frightened People (photographed by)
 1933 Torch Singer (photography by)
 1933 One Sunday Afternoon (uncredited)
 1933 Disgraced
 1932 Island of Lost Souls (photographed by)
 1932 The Sign of the Cross (photographed by)
 1931 Dr. Jekyll and Mr. Hyde (photographed by)
 1931 Skippy
 1931 Kiki
 1930 Zampa (Short)
 1930 Abraham Lincoln (photography)
 1930 Danger Lights (photographed by)
 1930 The Bad One
 1930 Be Yourself! (photographed by)
 1930 Lummox
 1929 Coquette (photography)
 1928 The Battle of the Sexes (photography)
 1928 Night Watch
 1928 Drums of Love
 1927 Sunrise (photography)
 1926 Forever After
 1926 Sparrows (photography)
 1925 Ben-Hur: A Tale of the Christ (photography)
 1924 Idle Tongues
 1924 White Man
 1923 Maytime
 1923 The Hero
 1922 Minnie
 1922 Fools First
 1921 The Affairs of Anatol (photographed by)
Show Show Camera and Electrical Department (5 credits)
Show Show Director (1 credit)
Show Show Miscellaneous Crew (1 credit)
Show Show Self (1 credit)

Personal Details

Publicity Listings:

1 Print Biography | 4 Articles | See more »

Alternate Names:

Carlo Struss | Karl O. Struss

Did You Know?

Personal Quote:

[on working with Charles Chaplin]: He had no knowledge of camera direction, his films were completely "theatre". It was very routine work with him; you'd just set up the camera and let it go and he and the other actors would play in front of it. He never even tried for cinematic effects.

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