National Film Award for Best Cinematography

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National Film Award for Best Cinematography
Type National
Category Indian Cinema
Instituted 1967
First awarded 1967
Last awarded 2013
Total awarded 64
Awarded by Directorate of Film Festivals
Cash award 50,000 (US$740)
Medal Rajat Kamal (Silver Lotus)
Previous name(s) Award for excellence in Cinematography (1967–1976)
First awardee(s)  • Ramachandra
 • M. N. Malhotra
Recent awardee(s) Sudeep Chatterjee

The National Film Award for Best Cinematography is one of the National Film Awards presented annually by the Directorate of Film Festivals, the organisation set up by Ministry of Information and Broadcasting, India. It is one of several awards presented for feature films and awarded with Rajat Kamal (Silver Lotus).

The award was instituted in 1967, at 15th National Film Awards and awarded annually for films produced in the year across the country, in all Indian languages. Till 34th National Film Awards, awards were given for Black-and-white as well as Color motion picture film. Since 37th National Film Awards, Laboratory Processing are also awarded under the same category.

Winners

Award includes 'Rajat Kamal' (Silver Lotus) and cash prize. The only female who has won this award is Anjuli Shukla, who won the award for her debut film, Kutty Srank (2010). The most time winners are K. K. Mahajan and Santosh Sivan – 4 awards each for this category. Prasad Film Lab has been awarded eight times for the laboratory processing. Following are the award winners over the years:

*
Indicates Black-and-white feature film
List of award recipients, showing the year (award ceremony), film(s), language(s) and citation
Year Recipient(s) Laboratory Processing Film(s) Language(s) Citation
1967
(15th)
Ramachandra[1]  – Bambai Raat Ki Bahon Mein Hindi  –
1967
(15th)
M. N. Malhotra[1]  – Hamraaz Hindi  –
1968
(16th)
Nariman Irani[2]  – Saraswatichandra Hindi  –
1968
(16th)
K. S. Prasad[2]  – Thillaanaa Mohanambal Tamil  –
1969
(17th)
K. K. Mahajan[3]  – Sara Akash Hindi  –
1969
(17th)
Marcus Bartley[3]  – Shanti Nilayam Tamil  –
1970
(18th)
K. K. Mahajan[4]  – Uski Roti Hindi  –
1970
(18th)
Radhu Karmakar[4]  – Mera Naam Joker Hindi  –
1971
(19th)
Nando Bhattacharya[5]  – Anubhav Hindi  –
1971
(19th)
Ramachandra[5]  – Reshma Aur Shera Hindi  –
1972
(20th)
Mankada Ravi Varma[6]  – Swayamvaram Malayalam  –
1972
(20th)
K. K. Mahajan[6]  – Maya Darpan Hindi  –
1973
(21st)
Apurba Kishore Bir[7]  – 27 Down Hindi  –
1973
(21st)
Soumendu Roy[7]  – Ashani Sanket Bengali  –
1974
(22nd)
K. K. Mahajan[8]  – Chorus Bengali  –
1974
(22nd)
Soumendu Roy[8]  – Sonar Kella Bengali  –
1975
(23rd)
B. S. Lokanath[9]  – Apoorva Raagangal Tamil  –
1975
(23rd)
Ishan Arya[9]  – Muthyala Muggu Telugu  –
1976
(24th)
P. S. Nivas[10]  – Mohiniyattam Malayalam  –
1976
(24th)
S. Ramachandra[11]  – Rishya Shringa Kannada  –
1977
(25th)
Balu Mahendra[12]  – Kokila Kannada <templatestyles src="Template:Hidden begin/styles.css"/>
For smooth, crisp and immaculate camera work; for the clear, sensitive and discreet portrayal of beings in the first flush of youth; for seizing with a certain lyrical grace their romantic yearnings, their gay abandon, their zest and effervescence, their charming narcissism; for using the camera creatively to project their languid world of gossamer dreams out of which they are roused by the bitter harshness of reality.
1977
(25th)
Soumendu Roy[12]  – Shatranj Ke Khilari Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For capturing in meticulous detail the opulent splendor of the court of Wajid Ali Shah; for using color with discrimination and taste to evoke the distinctive decadent flavour of the period and to provide psychological insights into the characters; for projecting the action through a framework of shifting perspectives, thereby providing a movable feast for the eyes, for establishing by pointed contrast the somber hues and subdued functionalism of the environment of General Outram, emphasising by such means the furtive manoeuvring for power; for using the camera to create a visual tapestry, rich in the clash of conflicting events, ideologies and responsibilities.
1978
(26th)
Shaji N. Karun[13]  – Thampu Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For using the camera as a silent witness to the ironies of life. The reaction shots of circus audience taken unawares are in the best tradition of cinema-verite camera style.
1978
(26th)
Govind Nihalani[13]  – Junoon Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For eloquent camera work which is equally effective both in romantic passages and battle sequences. The camera faultlessly brings out all the colour hues in various locations and differing light conditions.
1979
(27th)
Kamal Nayak[14]  – Neem Annapurna Bengali  –
1979
(27th)
Rajan Kinagi[14]  – Shodh Hindi  –
1980
(28th)
Sivan[15]  – Yagam Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For depicting the grim and tense mood of the film, admirably depicting mellowed moments in the film with charm.
1980
(28th)
Ashok Kumar[15]  – Nenjathai Killathe Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For brilliantly creating salient features of each character with the help of superb camera control and effective use of lighting and for significantly contributing to the mood of the film.
1981
(29th)
Shripati R. Bhat[16]  – Mooru Darigulu Kannada <templatestyles src="Template:Hidden begin/styles.css"/>
For projecting the mood of the film in a vivid manner.
1981
(29th)
Ashok Mehta[16]  – 36 Chowringhee Lane English <templatestyles src="Template:Hidden begin/styles.css"/>
For the technical excellence, for highlighting the tonality, texture and nuances of the story and for an outstanding work as a cameraman.
1982
(30th)
Balu Mahendra[17]  – Moondram Pirai Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For the brilliant use of vivid imagery to create variety of moods.
1983
(31st)
 • B. Bindhani
 • Raj Shekhar[18]
 – Neeraba Jhada Oriya <templatestyles src="Template:Hidden begin/styles.css"/>
For recording the stark realities of rural life in austere images.
1983
(31st)
Madhu Ambat[18]  – Adi Shankaracharya Sanskrit <templatestyles src="Template:Hidden begin/styles.css"/>
For succeeding in capturing visually the spirit of the theme.
1984
(32nd)
Jehangir Choudhary[19]  – Holi Hindi  –
1985
(33rd)
Subrata Mitra[20]  – New Delhi Times Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For inspired camera work which brings out the delicate nuances of light and shade resulting in a strong visual presentation.
1986
(34th)
Venu[21]  – Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For the lyrical and brilliant visual presentation.
<templatestyles src="Template:Hidden begin/styles.css"/>
For his powerful and disturbing black and white photography.
1987
(35th)
P. C. Sreeram[22]  – Nayagan Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For the precise interpretation in lighting and camera operation adding a very vital dimension to the narrative.
1988
(36th)
Apurba Kishore Bir[23]  – Daasi Telugu <templatestyles src="Template:Hidden begin/styles.css"/>
For high technical excellence and creative participation in evolving the basic statement.
1989
(37th)
Virendra Saini[24] Adlabs Salim Langde Pe Mat Ro Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For the high technical skills shown in evoking the special ethos of the film.
1990
(38th)
Santosh Sivan[25] Vijay Colour Lab Perumthachan Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For heightening the mood of the film with the highest visual standards.
1991
(39th)
Apurba Kishore Bir[26] Prasad Film Lab Aadi Mimansa Oriya <templatestyles src="Template:Hidden begin/styles.css"/>
For achieving high degree of accomplishment in painting the film with light, imparting a sensuous quality to the texture and feel of the film.
1992
(40th)
Venu[27] Prasad Film Lab Miss Beatty's Children English <templatestyles src="Template:Hidden begin/styles.css"/>
For his masterely, unobtrusive and technically excellent camera work.
1993
(41st)
Venu[28] Prasad Film Lab Ponthan Mada Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For the masterly use of the camera, in order to capture the feel of the background, setting, atmosphere of the subject and making use of striking visuals to communicate the theme.
1994
(42nd)
K. V. Anand[29] Gemini Color Lab Thenmavin Kombath Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
In recognition of the outstanding cinematography executed with sincerity, imagination and flexibility. Fluid camera movements, praise compositions, and use of light are the highlights of this visual experience.
1995
(43rd)
Santosh Sivan[30] Gemini Color Lab Kaalapani Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For bringing out the flavour and authenticity of a period with a remarkable use of lights, shades and colours.
1996
(44th)
Mrinal Kanti Das[31] Prasad Film Lab  • Adajya
 • Rag Birag
Assamese <templatestyles src="Template:Hidden begin/styles.css"/>
For his versatile, imaginative and superb combinations and mood lighting.
1997
(45th)
Santosh Sivan[32] Prasad Film Lab Iruvar Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For maintaining a consistent style and pattern that does justice to the period and scale that the narrative deals with.
1998
(46th)
Santosh Sivan[33] Gemini Color Lab Dil Se.. Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
His camera travels across spectacular landscapes and architecture and through bustling humanity with great seductive charm, colours and moods are created with equal ease in a film which sets a high standard of cinematic perfection.
1999
(47th)
Anil Mehta[34] Adlabs Hum Dil De Chuke Sanam Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For a wide range of tonal variations achieved by the cinematographer to express the changing moods of this musical in a given space and time.
2000
(48th)
Ashok Mehta[35] Prasad Film Lab Moksha Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For providing wide range of tonal variation and outstanding compositions to cater to the changing moods of the film's narrative.
2001
(49th)
Ramachandra Halkare[36] Prasad Film Lab Dweepa Kannada <templatestyles src="Template:Hidden begin/styles.css"/>
For his excellent camerawork that captures the agrarian milieu with strong visual metaphors. His work stands out for its deft handling of the situation, social vignettes and characters.
2002
(50th)
Abhik Mukhopadhyay[37] Rainbow Color Lab Patalghar Bengali <templatestyles src="Template:Hidden begin/styles.css"/>
For creating the distinctive and elegant visual ambience of the film that is excellently in tune with the mood of the story.
2003
(51st)
Abhik Mukhopadhyay[38] Rainbow Color Lab Bhalo Theko Bengali <templatestyles src="Template:Hidden begin/styles.css"/>
For enriching the narrative with tranquility and beauty.
2004
(52nd)
Mahesh Aney[39] Adlabs Swades Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For his lens that captures the rural Indian landscape with reality and harshness.
2005
(53rd)
Madhu Ambat[40] Prasad Film Lab Sringaram Tamil <templatestyles src="Template:Hidden begin/styles.css"/>
For the technical brilliance which is evident in the framing, lighting and execution throughout the film.
2006
(54th)
Gautam Ghose[41] Rainbow Colour Lab Yatra Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For creating evocative moods and capturing the nuances of a feudal system changing to modern times.
2007
(55th)
Shanker Raman[42] Deluxe Laboratories Inc. Frozen Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For the artistic and technical excellence of cinematography revealed through superb reproduction of tonalities and stark compositions, maintaining the texture on high altitude.
2008
(56th)
Abhik Mukhopadhyay[43] Filmlab Antaheen Bengali <templatestyles src="Template:Hidden begin/styles.css"/>
For the poetically captured visuals with inspired use of light and shades to enhanced the mood of the film.
2009
(57th)
Anjuli Shukla[44] Adlabs Kutty Srank Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For the breathtaking sweep that captures the magical mystery of a multilayered narrative.
2010
(58th)
Madhu Ambat[45]  – Adaminte Makan Abu Malayalam <templatestyles src="Template:Hidden begin/styles.css"/>
For the visual poetry that augments and reinforces the concern of the narrative and for unfolding the infinite vistas of nascent digital technology in the visual medium.
2011
(59th)
Satya Rai Nagpaul[46] Reliance MediaWorks Anhe Ghore Da Daan Punjabi <templatestyles src="Template:Hidden begin/styles.css"/>
For skilfully blending the narrative and the moving image to describe the desolate fields of Punjab making its painful transition towards a dehumanised urban world. He provides a human feel to the textures of this once bountiful landscape with some brilliant lighting and compositional unity. The minimalism employed opens up a rich tapestry of rural faces, landscapes and its animals in a way that allows the viewer to virtually inhabit these spaces.
2012
(60th)
Sudheer Palsane [47] Prasad Studios Ko:Yad Mishing <templatestyles src="Template:Hidden begin/styles.css"/>
The unexplored charm of North-East India through different seasons is all the more alluring in the eyes of this Cinematographer.
2013
(61st)
Rajeev Ravi [48]  – Liar's Dice Hindi <templatestyles src="Template:Hidden begin/styles.css"/>
For capturing life from the picturesque snow-laden mountains through a strenuous bus journey, to the crowded and dingy streets of Delhi with a rare fluidity.
2014
(62nd)
Sudeep Chatterjee[49]  – Chotushkone Bengali <templatestyles src="Template:Hidden begin/styles.css"/>
For exhibiting a wide spectrum of space and time while effortlessly knitting the emotional fabric of the film.

References

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External links