British Cinematographer

ShotDeck Recreations: François Vallet (Sin City) We hear from François Vallet about how he recreated of a scene from Sin City, which saw him win Grand Prize in the Best Production Design category.

"The film, including this scene, had a unique characteristic: it was shot entirely on green screen with only the actors and a few props." #filmsky @shotdeck.bsky.social

Lorenzo Levrini / Wasteman Director Cal McMau’s debut feature follows Taylor (David Jonsson), an inmate who is up for early release, lensed by Lorenzo Levrini.

"Prison is not just bleak: the entire gamut of human emotion exists in there, and I wanted to reflect this in the lighting." #filmsky

FilmLight Colour Awards Episodic winner: Peter Doyle We chat to this year’s episodic winner, Peter Doyle, about grading two perspectives, each with two timelines.

"The guiding philosophy was that Catherine’s world was elegant and posh, while Stephan’s was a little more suburban and a little rundown." #filmsky

Sam Levy / The Only Living Pickpocket in New York The Only Living Pickpocket in New York sees DP Sam Levy team up with Noah Segan and John Turturro for a race against time.

"The film truly found itself after watching an early cut with the director and our producers, when we had an open, organic conversation about pacing."

Hamnet characters on the cover of a magazine

As 2026 gets underway, our January/February edition celebrates the creativity, craft and collaboration driving the industry forward — from bold visual storytelling to the techniques shaping cinema’s future #filmsky

Find a full breakdown of the issue: britishcinematographer.co.uk/take-a-sneak...

Magazine cover with Robbie Ryan on the front

Our Focus On: Shooting on Film guide is out now – and free to all British Cinematographer readers! #filmsky

Film is experiencing a revival as cinematographers increasingly choose celluloid to realise their creative visions.

Read now: britishcinematographer.co.uk/focus-on-gui...

Phil Wood / After the Flood series two DP Phil Wood explains how the visual language of ITV drama After the Flood evolved from series one to series two.

“Every decision — camera, lens, or lighting — was driven by story and environment, not spectacle.” #filmsky

Manu Dacosse / The Stranger Manu Dacosse explains how he worked with director François Ozon to adapt L'Étranger for the big screen in black-and-white.

"I pushed for black-and-white, as I was excited to get the chance to make a black-and-white movie." #filmsky

Congratulations to the Cinematography Oscars nominees!

Frankenstein – Dan Laustsen ASC DFF
Marty Supreme – Darius Khondji ASC AFC
One Battle After Another – Michael Bauman
Sinners – Autumn Durald Arkapaw ASC
Train Dreams – Adolpho Veloso ABC AIP

More: britishcinematographer.co.uk/oscars-annou...

Fabian Gamper / Sound of Falling Fabian Gamper explains how he wanted Mascha Schilinski's Sound of Falling to feel like a visualisation of memory.

"The whole idea behind Sound of Falling was to create a film that feels close to how memories are." #filmsky

Mauro Herce / Sirāt Speaking after his European Film Awards nod for the film, DP Mauro Herce reveals how the crew pulled off its ambitious plan.

"For me, it’s impossible to replace the feel of film. I am very happy to work on film first, because the way you work on film is very different in the way you approach the shoot." #filmsky

We had a fantastic time heading to Berlin for the European Film Awards - celebrating the finest filmmaking talent from across the continent 🏆

Congratulations to Mauro Herce, who took European Cinematographer for his immersive work on Sirat, as well as all of the winners! #filmsky

A golden European Film Awards poster

Today's the day! 🏆

Watch the live stream of the 2026 European #Film Awards on our website, as filmmakers from across the continent gather together to celebrate each other's work: britishcinematographer.co.uk/efa/

Jeff Cutter / Predator: Badlands With Predator: Badlands, DP Jeff Cutter and director Dan Trachtenberg have followed up 2022's Prey with aplomb.

"We both grew up with those amazing action movies in the ‘80s. McTiernan was always a big influence, we both felt there was a real muscular quality to his filmmaking, in that he has these rack focuses that bring dramatic weight to the action, with a lot of breathing and flares throughout his work."

Ko-Chin Chen and Tzu-Hao Kao / Left-Handed Girl Cinematographers Ko-Chin Chen and Tzu-Hao Kao capture Taipei’s raw intimacy on iPhone, using stealth, natural light and minimal crews.

"There are a number of reasons why we shot on iPhone. The main one is because the majority of our scenes were shot at a night market, where there would be lots of people. If we turned up with an ARRI or RED camera everyone would know we were shooting a film." #filmsky

OCD: Reframing Disability Scope is a historical thriller short film which stars Antonia Thomas (The Good Doctor, Still Up) and Samantha Spiro (Sex Education, Still Up).

"As a neurodivergent creative, it is important that we see our lived experiences named and carefully handled." #filmsky

Bella Gonzales / The Twisted Tale of Amanda Knox Bella Gonzales explains why The Twisted Tale of Amanda Knox required a visual approach grounded in empathy and restraint.

"As a cinematographer, I am drawn to projects that demand a use of visual subjectivity—where character perspective directly informs camera language." #filmsky

Caleb Heymann / Stranger Things DP Caleb Heymann explains how the major Mac-Z showdown in “Chapter 4: The Sorcerer” came together.

"There’s a moment in this sequence when the action moves into slow-mo, and we then flash back to Will’s childhood. We tested 16mm, 8mm and a 12mm extraction from the 16mm, but we really loved the grainy low resolution feel of the 8mm." #StrangerThings

Steven Breckon / The Plague Cinematographer Steven Breckon reflects on lensing Charlie Polinger’s debut feature, and part body horror, The Plague.

"While a very different story, the anxious camera movement in Punch-Drunk Love was inspiring." #filmsky

Ryan BSC ISC / Bugonia Robbie Ryan BSC ISC reveals how he created tension—largely within the confines of a basement setting—in his VistaVision adventure.

"We’re all used to 35mm still photographs, and that’s basically VistaVision—the purest form of very honest 35mm image." #filmsky

Michael Bauman / One Battle After Another To craft Paul Thomas Anderson’s road movie with a difference, Michael Bauman set off on a multi-city shoot.

“The scope was different from anything we’d done before. Paul [Thomas Anderson] wanted to push it as far as possible, which is where the VistaVision format came in as the locations were going to be on a grand scale.” #filmsky

Jermaine Edwards / My Father's Shadow From shooting in Nigeria to walking the red carpet at the Cannes premiere, Jermaine Edwards’ cinematographic journey with My Father’s Shadow.

“Encountering Nigeria for the first time, I almost saw it in the same way as the children—through rose-tinted glasses, with awe and curiosity,” recalls Edwards, who was immersed in a new world of overwhelming sights, smells, textures and sounds when he landed in Lagos. #filmsky

Jennifer Lawrence behind a headline about the cinematography Oscars shortlist

Sixteen films are on the #Oscars shortlist. Which would you like to see nominated? #filmsky

Read more: britishcinematographer.co.uk/oscars-annou...

Jules O'Loughlin ASC ACS / Percy Jackson and the Olympians Jules O'Loughlin ASC ACS explains how modern constraints forced the crew to innovate for a key chariot race.

"To intensify the sense of frenetic, high-speed danger, we utilised reduced shutter angles, a technique perfected in films like Saving Private Ryan and Gladiator." #filmsky

Matthew Libatique ASC LPS / Caught Stealing Darren Aronofsky’s Caught Stealing ignites late-’90s Big Apple grit, with cinematography from Matthew Libatique ASC.

“I’m not interested in repeating myself; I want fresh approaches rather than just doing the same things over again.”

Dan Laustsen ASC DFF / Frankenstein Longtime collaborator Dan Laustsen ASC DFF explains how his and del Toro’s brotherly bond helped them to pull off the project.

"I think when you see Frankenstein, you feel it’s a real movie. It’s like an old-fashioned movie, because all the set is for real." #filmsky

Del Toro behind the headline Guillermo del Toro to receive BFI Fellowship for “remarkable contribution to cinema”

Del Toro said: “I thank everyone at the BFI for this great distinction. I will endeavour myself to work hard to prove myself worthy of their faith in me.” #filmsky

Read more: britishcinematographer.co.uk/guillermo-de...

Andy Pritchard / Death with Kris The BAFTA-winning four part docuseries Death with Kris follows mortician and author Kristoffer Hughes as he travels across Earth

"Every frame in the series was lit purely by the environments we found ourselves in. Not a single supplementary light was used. That decision wasn’t about purism, it was about honesty." #filmsky

Adolpho Veloso ABC AIP / Train Dreams Adolpho Veloso ABC AIP explains how he and writer-director Clint Bentley crafted a period piece that feels relatable in the 21st century.

“Grainer’s life just felt so much like mine, going out somewhere new, spending months there away from your family, and then sharing your life in a very intense way with a bunch of different people that become your family.” #filmsky britishcinematographer.co.uk/adolpho-velo...

Nathalie Pitters behind text outlining her career goals

Representing cinematographers in this year’s @bafta.org Breakthrough cohort, supported by @netflix.com, is Nathalie Pitters – who was selected after her work on Brian and Maggie.

The one to watch explains what she hopes to get out of the programme: britishcinematographer.co.uk/bafta-breakt...