Considered a very prominent cinematographer, even his early work received notice and praise from both critics and other industry professionals.

The advent of sound film did not abate his continued rise, and he became the top director of photography at Warner Brothers by 1932.

In 1909, flying in a Curtiss open cockpit bi-plane, he photographed the Panama Canal from the air.

[8] Over the course of his career, Kurlle received numerous positive criticism and attention from other industry members and publications.

He was highlighted in American Cinematographer on many occasions, the first time being in the 1922 edition, where he was called a "valued member" of the ASC.

[9] When he was selected to man the camera for fellow ASC member Phil Rosen's film, Abraham Lincoln, a prominent industry magazine stated that Kurlle's career had been "brilliant" up to that point.

[10] In July 1924, after Kurrle's return from north Africa where he shot A Son of the Sahara, American Cinematographer called him "... a master of his profession.

[12] In 1927 Kurrle was lauded for his camerawork on the film adaptation of Tolstoy's Resurrection, which was directed by his long-term collaborator Carrewe.

[15] That same year, 1928, his camera work on Sadie Thompson, was lauded as "... beautifully done, and the settings are completely in the mood of the story".

[22] The magazine also rated his photography as "excellent" for Merian Cooper's version of the classic tale, The Four Feathers.

[23] There were times when his work only garnered average reviews in some papers, such as 1930's Hit the Deck,[24] while still gaining praise in others.

Upon his death, American Cinematographer said, "The Motion Picture Industry lost one of its greatest cinematographers and finest gentlemen ..."[30] His memorial service was held at The Little Church of the Flowers in Glendale, California,[1] after which he was interred in Forest Lawn Memorial Park, also in Glendale.