Karl Struss (1886-1981) was born in New York City. He was one of the few still photographers of significance to make the transition to cinematographer. Struss worked with the photographers Alfred Stieglitz and Clarence White, joining them in the Photo Secessionist movement in 1912. In 1914 he took over White’s studio, where he developed the soft-focus Struss lens. During World War I, Struss helped develop aerial surveillance photography and conducted experimental work in infrared photographic processes. In 1919 he moved to Hollywood, where his artistic understanding of lighting and composition caught the eye of Cecil B. DeMille, who hired him to do production stills for DeMille's films. Intent upon applying principles of still photography to film, he soon he became one of the most sought-after cinematographers in Hollywood, working with such artists as DeMille, Mary Pickford, D.W. Griffith, William Cameron Menzies, Charles Chaplin, Mae West and F.W. Murnau.

Struss worked on more than 150 films during his 51-year career, including BEN-HUR (1926), SPARROWS (1926), SUNRISE (1927), THE BATTLE OF THE SEXES (1928), COQUETTE (1929), THE TAMING OF THE SHREW (1929), ABRAHAM LINCOLN (1930), DR. JEKYLL AND MR. HYDE (1932), THE GREAT DICTATOR (1940), and LIMELIGHT (1952). Struss made his final film in 1959, but continued to work in television and commercials until his retirement in 1972. He served on the Academy Board of Governors from October 1930 to October 1931 and was nominated for Academy Awards for cinematography for SUNRISE, DR. JEKYLL AND MR. HYDE, THE SIGN OF THE CROSS (1932) and color cinematography for ALOMA OF THE SOUTH SEAS (1941). Struss, with Charles Rosher, received the first Oscar® ever presented for Cinematography for SUNRISE at the 1927/1928 Academy Awards®.