- A prime master of Swedish light, Jens Fischer is a cinematographer in the tradition of DP's like Julius Jaenzon, Sven Nykvist and his own father, Gunnar Fischer. He grew up observing his father's collaboration with Ingmar Bergman on historic films such as The Seventh Seal (1957), Wild Strawberries (1957), Summer with Monika (1953) and The Magician (1958), while participating himself in front of the camera on Secrets of Women (1952). After studying Art and Music History at the Sorbonne University in Paris, he went back to Sweden and begun to work as a cinematographer, quickly developing a personal style of his own. A great fan of flemish painters, Fischer is capable to apply a richness in contrast and depth to his films, comparable to some of the images of Rubens and Van Eyck. Some of his most remarkable works (much contrasting in style) are The Queen of Sheba's Pearls (2004), with one of the most sensitive lightings in recent Scandinavian cinematography, and Under ytan (1997), a film in the tradition of Pulp Fiction and Requiem for a Dream. Jens Fischer has won multiple national and international prizes such as Camerimage, as well as three Guldbagge Awards (Sweden's Academy Awards). He has also been the Director of Photography of the Oscar nominated feature Under the Sun (1998).
- IMDb mini biography by: Anonymous
- Son of Gunnar Fischer
- He is the brother of cinematographer Peter Fischer.
- The light design of a film is like playing jazz: in the beginning one erupts a limitless scale of sounds. You play as many tones as you can, using as many lamps as you have access to. But once you mature, you realize that this is not necessary. The more lamps you use, the harder you make it for yourself.
- Two of my personal favorites are Rembrant and El Greco.
- You are not better than the last film you've made. There is nothing called "he is outstanding" per definition. You must work hard to achieve your best, all the time.
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