Nice Vanity Fair piece about the cinematography of the nominated films:
The Hurt Locker‚Äôs director of photography, Barry Ackroyd, uses Super-16 cameras to create a raw, documentary feel for his sun-drenched canvas in Kathryn Bigelow‚Äôs Iraqi War drama. Christian Berger, meanwhile, channels the poignant black-and-white photography of Ingmar Bergman‚Äôs legendary D.P., Sven Nykvist, in Michael Haneke‚Äôs disturbing period piece The White Ribbon, about the banality of evil in pre-World War One Germany. The grizzled veteran nom goes to two-time Oscar winner Robert Richardson for complementing the sardonic tone of Inglourious Basterds with hard lights and deliberate angles, casting dramatic shadows over the actors‚Äô mugs. And Bruno Delbonnel drapes a C.G.I.-enhanced world of witchcraft and wizardry in a sinister veil of shadow and contrast, helping Harry Potter and the Half-Blood Prince shake the childishness of its subject matter.
Finally, in a league of its own, there‚Äôs Avatar.