And Fischer also worked with Carl Th. Dreyer on the one film Dreyer shot in Sweden, Två människor (1945) and on Arne Sucksdorff's fiction film Pojken i trädet (1961). And he worked with Hasse Ekman on several films, most impressively on Egen ingång (1956), that I write about in my thesis. Ekman and Bergman were competitors in the late 1940s, early 1950s, and one thing they competed about was who could make the longest take. Ekman and Fischer won, with a sequence-shot in We Three Debutantes (Vi tre debutera 1953), which also has beautiful, poetic cinematography of Stockholm in the sun-drenched morning mist.
I once interviewed Gunnar Fischer's son Jens Fischer, also a cinematographer and a great guy. My thoughts are now with him and his family. I didn't get to meet Gunnar up close and personal, but I've heard him speak, telling amazing anecdotes. That great shot in The Seventh Seal where the man dies, kicking and screaming on the road, and then suddenly becomes embalmed in sunlight, that was Fischer's idea, insisting that he keep the camera rolling, when Bergman wanted to wrap things up. It's clear that Fischer had a great eye for light and lighting.
Here are some clips:
Something more cheerful:
And an old trailer for Summer Interlude, with some misspelled names: