|Olivia Hussey in Franco Zeffirelli's Romeo and Juliet|
Conrad L. Hall (possibly my all-time favorite practitioner of this field) had made a little over half a dozen films by the time he shot John Boorman's perennially underrated Hell in the Pacific (a tour de force for actors Lee Marvin and the great Toshiro Mifune). He would eventually go on to win three Academy Awards for Cinematography (Butch Cassidy and the Sundance Kid; American Beauty; Road to Perdition) setting a thirty year record gap in the category between his first and second wins.
Douglas Slocombe's subtle, set-bound work in The Lion in Winter is painterly, without drawing attention to itself; the fireworks in the film came courtesy of Hepburn and O'Toole (she won the Oscar that year, he didn't). William A. Fraker (Bullitt; 1941), Geoffrey Unsworth (Cabaret; Tess), Oswald Morris (Moby Dick; Fiddler on the Roof), Ernest Laszlo (Kiss Me Deadly; It's a Mad, Mad, Mad, Mad World), Harry Stradling (A Streetcar Named Desire; My Fair Lady) and Daniel L. Fapp (West Side Story; The Great Escape)...they just don't make 'em like that anymore.
1968 Academy Award for Best Cinematography
the actual nominees:
Pasqualino De Santis for Romeo and Juliet (winner)
Daniel L. Fapp for Ice Station Zebra
Ernest Laszlo for Star!
Oswald Morris for Oliver!
Harry Stradling for Funny Girl
the alternate universe nominees: