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Edward Colman (cinematographer) was born on 25 January, 1905 in Philadelphia, Pennsylvania, is a cinematographer. Discover Edward Colman (cinematographer)'s Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is He in this year and how He spends money? Also learn how He earned most of networth at the age of 90 years old?

Popular As N/A
Occupation N/A
Age 90 years old
Zodiac Sign Aquarius
Born 25 January 1905
Birthday 25 January
Birthplace Philadelphia, Pennsylvania
Date of death (1995-01-24) Newport Beach, California
Died Place N/A
Nationality Pennsylvania

We recommend you to check the complete list of Famous People born on 25 January. He is a member of famous cinematographer with the age 90 years old group.

Edward Colman (cinematographer) Height, Weight & Measurements

At 90 years old, Edward Colman (cinematographer) height not available right now. We will update Edward Colman (cinematographer)'s Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

Physical Status
Height Not Available
Weight Not Available
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Who Is Edward Colman (cinematographer)'s Wife?

His wife is Phyllis Colman

Parents Not Available
Wife Phyllis Colman
Sibling Not Available
Children Not Available

Edward Colman (cinematographer) Net Worth

His net worth has been growing significantly in 2022-2023. So, how much is Edward Colman (cinematographer) worth at the age of 90 years old? Edward Colman (cinematographer)’s income source is mostly from being a successful cinematographer. He is from Pennsylvania. We have estimated Edward Colman (cinematographer)'s net worth , money, salary, income, and assets.

Net Worth in 2023 $1 Million - $5 Million
Salary in 2023 Under Review
Net Worth in 2022 Pending
Salary in 2022 Under Review
House Not Available
Cars Not Available
Source of Income cinematographer

Edward Colman (cinematographer) Social Network




Edward Colman died on January 24, 1995 in Newport Beach, the day before his 90th birthday.


Not only did he specialize in captivating intricate special effects, but he also had a talent for landscape photography, as evidenced by the atmospheric shots from Vermont for Those Calloways, a story about a family of conservationists in New England. He combined both in 1967 in The Gnome-Mobile, in which the “forced perspective” was used to make the interplay between humans and dwarfs believable. These for the Disney film Darby O'Gill and the Little People makes use of the fact that, due to the two-dimensionality of the film image, the human eye cannot see how far things or people are really apart as long as the camera or the objects being filmed are do not move towards each other. After his work on The Love Bug, Colman retired.


After the huge box office success this produced only a modest budget strip and the even more successful The Absent-Minded Professor (1961), also with Fred MacMurray and many film tricks to Colman has established itself at Disney as one of the most important cameramen. He was helped by the fact that he had received an Oscar nomination for his original black and white photography. In the years that followed, Colman was involved in almost all of the studio's major real film projects and directed the shoots for numerous Disney hit films. He mainly worked with the directors Norman Tokar and Robert Stevenson. With the latter, he also made his most famous film, the musical Mary Poppins. The film version of P.L. Travers' Stories, starring Julie Andrews in the title role, earned Colman another Academy Award nomination in 1965.

He appeared in cameo in the Disneyland episode "Back Stage Party" (1961) and at the end of the filming of Babes in Toyland, he can be seen once in the picture.


Disney also utilized Colman's talents in motion pictures; beginning with the lavish live action film 20,000 Leagues Under the Sea (1954) under the direction of Richard Fleischer. Colman was employed as the head cameraman of the second unit team, which was a challenge, for example, with the complicated underwater shots. After Colman had worked as a shooter on five episodes of The Mickey Mouse Club television series in 1955 , Walt Disney finally offered him the photographic direction of The Shaggy Dog in 1959 with Fred MacMurray. Colman benefited from the knowledge he had acquired in Great Britain before the war in the implementation of the numerous special effects for which the film that was shot in black and white.


In the following years Colman transitioned into television. Beginning in late 1953, he photographed 22 episodes of the successful television series Dragnet which was his first job at Disney Studios. In 1956 he was nominated for the Emmy Award for Best Cinematography for his work on that program.


At the end of the 1930s Colman returned to the USA and worked as a camera operator on films such as Tower of London in 1939. After performing military service in World War II, he continued to work with films Frontier Gal (1945), Walk a Crooked Mile (1948), and Joan of Arc (1948). In 1951 he became a member of the Academy of Motion Picture Arts and Sciences. In 1953 he was a featured speaker and panelist at the American Society of Cinematographers's symposium.


Colman was a member of the American Society of Cinematographers (ASC). His brother Ben Colman (1907–1988) was also a cameraman.


Edward Colman (January 25, 1905 – January 24, 1995) was an American cinematographer. He had a prolific relationship with Walt Disney Studios; beginning his relationship with that studio in 1953 as cinematographer for the television series Dragnet. He was nominated for an Emmy Award in 1956 for his work on that program. He also directed many live action films for Disney; notably earning Academy Award nominations for his cinematography for the films The Absent-Minded Professor (1961) and Mary Poppins (1964).

He was born in Philadelphia on January 25, 1905. He started working in the film business in the early 1930s. He was one of the - unnamed - cameramen, the magnificent aerial views of the Howard Hughes produced war film Hell's Angels. During this time he concentrated on the convincing design and photography of special effects. He completed his training primarily in Great Britain where he worked on during this time in the science fiction classics Things to Come and The Man Who Could Work Miracles, both of which were made in 1936 with a large star line-up based on models by H.G. Wells. During filming, he also met Peter Ellenshaw, with whom he would later work with in Hollywood.