While the more stylized light dominating much of The Dark Knight and Inception, what Wally does with shadow and framing in Rises is unparalleled in his own career, and frankly, nearly so in the world of film. Shadows dance across characters faces with amazing ease, often with seemingly very few light sources. It features deeper blacks and consistently uses a technique to block out background detail to jump out the foreground- the sewer scene is mostly blocked out shadows so Bane jumps out of the screen, along with the low depth of field shots of Gordon and Alfred in the last ten minutes.
It's more difficult to 'read' Wally's photography in Rises because shots linger so much less than they do in The Dark Knight, but it certainly features more technical mastery and precision, even if it doesn't suit your own aesthetic photographic preferences.
-Vader