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A strong DP will usually choose the look he wants after discussing it with the director in private. He will relay this to his crew, who, if they are dedicated and competent can then find that look without any further input from the DP. This may seem counterintuitive, but the DP is after all the Director of Photography, and his job is to direct the crew, not micromanage them.
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Several hundred productions are turned out annually by the industry, and any author will concur that no such number of new plots exist. The studios are therefore obliged to revamp many of the old reliables, give them new casts and dialogue, a change of locale, and depend heavily on new photographic treatment.
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Every production attempts to be different from another, and each presents a challenge for a new photographic approach. The director and cinematographer work as a team, and exchange suggestions about the lighting and staging of scenes. Whenever possible, the style of lighting is varied from sequence to sequence so as to add interest and impact to the photographic effects.
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