Distinguished veteran cinematographer John F. Seitz had eighteen patents for various photographic processes to his name. These included illuminating devices, processes for making dissolves and the matte shot, which he perfected during filming of Rex Ingram's Trifling Women (1922). Seitz started with Essanay in Chicago, then joined the St. Louis Motion Picture Company as a lab tech in 1909. Within another four years, he had progressed to director of photography. He was signed by Metro in 1920, doing his best work in collaboration with Ingram, most notably on The Four Horsemen of the Apocalypse (1921) and The Prisoner of Zenda (1922). Personally selected by William Randolph Hearst, Seitz was also behind the camera for The Patsy (1928), one of the major hits for Hearst's mistress, Marion Davies. By this time, he was the highest paid cinematographer in Hollywood.

Seitz's trademark was low key lighting and differentially illuminating different regions of the screen (ie. background, foreground and middle). His colour photography was characterised by a tendency to favor tan or beige as backgound colours, and vivid colours for costumes or props. Seitz's career in the 1930's, spent at 20th Century Fox (1931-36) and MGM (1937-40), was generally unremarkable. However, he enjoyed a massive resurgence at Paramount (1941-52), working on some of the best films made by Preston Sturges (Aşk Yıldızı (1941), Yaşasın kahramanlar (1944) and Mucizeler diyarı (1943)) and Billy Wilder (Çifte Tazminat (1944), Yaratılan adam (1945) and Sunset Bulvarı (1950)). Add to that another two excellent films noir, This Gun for Hire (1942) and Lucky Jordan (1942) - both directed by Frank Tuttle and starring Alan Ladd. He was a master at creating atmosphere through ominous shadows and looming close-ups.