Cinematography
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The 50 Most Beautiful Shots of the James Bond Franchise
When Bond makes a shot, he doesn’t miss.
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Michael Watson Relies on Horsepower to Shoot ‘Lovecraft Country’
We chat with the ‘Lovecraft Country’ cinematographer Michael Watson about how he rooted his frame in history while never betraying the fantastical elements of the series.
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Jonathan Freeman Explains the Craft of Intimacy in ‘Defending Jacob’
We chat with cinematographer Jonathan Freeman about how he manipulated distance literally and metaphorically for the new Apple TV+ series ‘Defending Jacob.’
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Jay Keitel Shaped Amy Seimetz’s Dread into Action in ‘She Dies Tomorrow’
We chat with cinematographer Jay Keitel about the playful variety of cameras used to capture anxiety in ‘She Dies Tomorrow.’
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Ava Berkofsky Discusses the Evolution of Self and Style in ‘Insecure’
We chat with the Emmy-nominated cinematographer about blending the emotions of her characters with her locations.
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The Vertical Cinematography of Damien Chazelle’s ‘The Stunt Double’
Sure, you’d watch a film shot on an iPhone, but what if it were shot vertically?
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Ollie Downey Explains How a DP Slides into the Second Season of ‘Hanna’
We chat with the cinematographer about building a visual language for the second season of ‘Hanna’ without betraying the first season.
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Trevor Forrest Describes How He Transformed L.A. into Ohio for ‘Little Fires Everywhere’
We chat with the cinematographer about the lenses required to masquerade the very warm West Coast for the treacherously cold East Coast.
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Martha Stephens on Shooting ‘To the Stars’ Simultaneously in Black and White and Color
We chat with the director about why she chose the impossible task of shooting two versions of her film.