On the set of The Magnificent Ambersons (1942)

Born in New York City. Master of chiaroscuro cinematography who described himself as "always chosen to shoot weird things." Often employed on independent, low-budget productions which tended to allow more room for visual experimentation. Entered American film with FOUR DAYS' WONDER at Universal in 1936. Other notable credits include THE WILDCATTER (1937), DANGER ON THE AIR (1938), HAWAIIAN NIGHTS (1939), MARGIE and LOVE, HORROR AND OH BABY! (both 1940), THE BLACK CAT and SAN ANTONIO ROSE (both 1941), BOMBAY CLIPPER and THE MAGNIFICENT AMBERSONS (both 1942), FLESH AND FANTASY (1943), SINCE YOU WENT AWAY (1944), LET THERE BE LIGHT (1945), SMASH-UP: THE STORY OF A WOMAN and SECRET BEHIND THE DOOR... (both 1946), SMART WOMAN (1948), THE UNDERWORLD STORY (1950), FORT DEFIANCE (1951), ABBOTT AND COSTELLO MEET CAPTAIN KIDD (1952), THE NEANDERTHAL MAN (1953), RIDERS TO THE STARS (1954), THE NIGHT OF THE HUNTER (1955), MAN FROM DEL RIO (1956), TOP SECRET AFFAIR and THE THREE FACES OF EVE (both 1957), THUNDER IN THE SUN (1959), THE ANGRY RED PLANET and DINOSAURUS! (both 1960), BACK STREET (1961), SHOCK CORRIDOR (1963), THE CANDIDATE and THE NAKED KISS (both 1964), YOUNG DILLINGER (1965), THE GHOST IN THE INVISIBLE BIKINI and THE NAVY vs. THE NIGHT MONSTERS (both 1966), BLUE (1968), THE BRIDGE AT RMAGEN (1969), THE DOOMSDAY MACHINE (1972), and his last feature, UN AUTRE HOMME, UNE OUTRE CHANCE (1977). In television, Cortez worked on "They Saved Hitler's Brain" (1963), "The Alfred Hitchcock Hour" (1965), "Family Affair" (1966) and "Do Not Fold, Spindle, or Mutilate" (1971). President of the ASC (American Society of Cinematographers) 1985-86. Brother of actor/director Ricardo Cortez (1899-1977).  Nominated for Cinematography (Black & White) 1942: THE MAGNIFICENT AMBERSONS  Nominated for Cinematography (Black & White) 1944: SINCE YOU WENT AWAY 2 nominations