British Cinematographer
@bcmag.bsky.social
Europe's No.1 magazine covering the art and craft of international cinematography. 📽️
“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...
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.
britishcinematographer.co.uk
November 28, 2025 at 10:03 AM
“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...
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...
The one to watch explains what she hopes to get out of the programme: britishcinematographer.co.uk/bafta-breakt...
November 27, 2025 at 1:57 PM
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...
The one to watch explains what she hopes to get out of the programme: britishcinematographer.co.uk/bafta-breakt...
🎥 Make the most of our Black November deal!
Get a digital subscription to British Cinematographer for just £19.99/year with code BLACKNOV!
Offer ends 30 Nov 2025 and is applicable to digital-only subscriptions. Don’t miss out!
👉 Use code BLACKNOV now: britishcinematographer.co.uk/digital-subs...
Get a digital subscription to British Cinematographer for just £19.99/year with code BLACKNOV!
Offer ends 30 Nov 2025 and is applicable to digital-only subscriptions. Don’t miss out!
👉 Use code BLACKNOV now: britishcinematographer.co.uk/digital-subs...
November 27, 2025 at 9:09 AM
🎥 Make the most of our Black November deal!
Get a digital subscription to British Cinematographer for just £19.99/year with code BLACKNOV!
Offer ends 30 Nov 2025 and is applicable to digital-only subscriptions. Don’t miss out!
👉 Use code BLACKNOV now: britishcinematographer.co.uk/digital-subs...
Get a digital subscription to British Cinematographer for just £19.99/year with code BLACKNOV!
Offer ends 30 Nov 2025 and is applicable to digital-only subscriptions. Don’t miss out!
👉 Use code BLACKNOV now: britishcinematographer.co.uk/digital-subs...
Congratulations to the nominees for European Cinematographer at the European Film Academy Awards!
All Academy members will now vote to determine the winners, who will be announced at the ceremony on 17 January 2026 🎥
Read more: britishcinematographer.co.uk/european-fil...
All Academy members will now vote to determine the winners, who will be announced at the ceremony on 17 January 2026 🎥
Read more: britishcinematographer.co.uk/european-fil...
November 26, 2025 at 11:21 AM
Congratulations to the nominees for European Cinematographer at the European Film Academy Awards!
All Academy members will now vote to determine the winners, who will be announced at the ceremony on 17 January 2026 🎥
Read more: britishcinematographer.co.uk/european-fil...
All Academy members will now vote to determine the winners, who will be announced at the ceremony on 17 January 2026 🎥
Read more: britishcinematographer.co.uk/european-fil...
"I found that Molly Wells (Maya Rudolph) is becoming very clear with who she is and her direction in life... This change in our protagonist’s outlook sparked conversation with my producing and directing team about adjusting the look of our show to adapt to Molly’s mindset for the season." #Loot
Jason Oldak / Loot
For Loot series three, DP Jason Oldak pushed to evolve the visuals alongside the evolution of main character Molly Wells.
britishcinematographer.co.uk
November 26, 2025 at 9:57 AM
"I found that Molly Wells (Maya Rudolph) is becoming very clear with who she is and her direction in life... This change in our protagonist’s outlook sparked conversation with my producing and directing team about adjusting the look of our show to adapt to Molly’s mindset for the season." #Loot
Congratulations to Seamus McGarvey ASC BSC ISC on his @bifa-film.bsky.social Best Cinematography win, scooping the award for his stunning work on Lynne Ramsay's #DieMyLove ♥️
Read more about the BIFA film craft award winners: britishcinematographer.co.uk/bifa-announc...
Read more about the BIFA film craft award winners: britishcinematographer.co.uk/bifa-announc...
November 24, 2025 at 12:57 PM
Congratulations to Seamus McGarvey ASC BSC ISC on his @bifa-film.bsky.social Best Cinematography win, scooping the award for his stunning work on Lynne Ramsay's #DieMyLove ♥️
Read more about the BIFA film craft award winners: britishcinematographer.co.uk/bifa-announc...
Read more about the BIFA film craft award winners: britishcinematographer.co.uk/bifa-announc...
"Something solidified in my mind, which is my distrust of most documentaries – which is that they’re preconceived and then they’re filmed. The question for me regarding these films would be, what was the exploration?" #filmsky britishcinematographer.co.uk/mike-figgis-...
Mike Figgis / Megadoc
When Megalopolis was finally given the green light, Mike Figgis jumped on board to shoot fly-on-the-wall documentary Megadoc.
britishcinematographer.co.uk
November 19, 2025 at 5:00 AM
"Something solidified in my mind, which is my distrust of most documentaries – which is that they’re preconceived and then they’re filmed. The question for me regarding these films would be, what was the exploration?" #filmsky britishcinematographer.co.uk/mike-figgis-...
Jack Shelbourn, a cinematographer and University of Lincoln lecturer, explains how his work investigates how reflected-light systems and modern LED sources can reproduce the aesthetic qualities of natural light while cutting on-set energy use and carbon output. #filmsky
Lighting for balance: Forging a sustainable cinematography practice
Shelbourn recently completed two linked studio experiments that expand the concept of New Naturalism into a controlled environment.
britishcinematographer.co.uk
November 14, 2025 at 12:14 PM
Jack Shelbourn, a cinematographer and University of Lincoln lecturer, explains how his work investigates how reflected-light systems and modern LED sources can reproduce the aesthetic qualities of natural light while cutting on-set energy use and carbon output. #filmsky
"In true crime, the story is that the places where these horrific crimes took place are, in one way or another, indelibly marked by them; just to step foot there is to immediately feel the echo of this horrific past hanging over you. The reality, obviously, is that these are just normal places." 🎥
Charlie Shackleton / The Zodiac Killer Project
When Charlie Shackleton was told his Zodiac Killer documentary had fallen through, he couldn’t move on. Enter: The Zodiac Killer Project.
britishcinematographer.co.uk
November 11, 2025 at 11:40 AM
"In true crime, the story is that the places where these horrific crimes took place are, in one way or another, indelibly marked by them; just to step foot there is to immediately feel the echo of this horrific past hanging over you. The reality, obviously, is that these are just normal places." 🎥
“For the horror elements, we leaned on this movie that I had never seen before called The Holy Mountain, which was very surrealistic. It’s one of those films where you’re just like, ‘What am I seeing?’ But visually, it is incredible.” #filmsky
Kira Kelly ASC / Him
Fresh off basketball drama Rez Ball, Kira Kelly ASC instantly turned her attention to another sport in Him.
britishcinematographer.co.uk
November 10, 2025 at 4:21 PM
“For the horror elements, we leaned on this movie that I had never seen before called The Holy Mountain, which was very surrealistic. It’s one of those films where you’re just like, ‘What am I seeing?’ But visually, it is incredible.” #filmsky
"The story dives deep into the darker side of social media and how it shapes identity, acceptance and belonging, especially in the fragile social ecosystem of school. But more than that, Clout is a modern fable. From the start, Jordan and I were aligned on treating it that way." #filmsky
Amelia Hazlerigg / Clout
Clout asks audiences to reflect on how social media is shaping how young people, and adults, see themselves.
britishcinematographer.co.uk
November 7, 2025 at 1:32 PM
"The story dives deep into the darker side of social media and how it shapes identity, acceptance and belonging, especially in the fragile social ecosystem of school. But more than that, Clout is a modern fable. From the start, Jordan and I were aligned on treating it that way." #filmsky
"The film is about 30% cell phone footage, and the rest is original photography, shot on the other side of the wall. We made the decision that the rest of the footage would feel very stripped down and very immediate and reduce the fingerprints of the filmmakers as much as possible." 🎥
Andrew Jarecki and Charlotte Kaufman / The Alabama Solution
Investigating the condition of the state's prison system, The Alabama Solution uses footage from real inmates to tell its urgent story.
britishcinematographer.co.uk
November 6, 2025 at 2:55 PM
"The film is about 30% cell phone footage, and the rest is original photography, shot on the other side of the wall. We made the decision that the rest of the footage would feel very stripped down and very immediate and reduce the fingerprints of the filmmakers as much as possible." 🎥
"Documentary filmmaking is always unpredictable but following a group of people obsessed with chasing the biggest waves in the world takes that to another level." #filmsky
Vincent Kardasik / 100 Foot Wave
The DP and producer explains why shooting the surfing world in 100 Foot Wave is a challenge like no other.
britishcinematographer.co.uk
November 5, 2025 at 2:56 PM
"Documentary filmmaking is always unpredictable but following a group of people obsessed with chasing the biggest waves in the world takes that to another level." #filmsky
"I had never worked on a period drama before, so I was excited by the chance to create something that truly felt 'of its time' and deeply connected to its landscape." #filmsky
Andrew Butler / Albert
Andrew Butler explains how he used the atmospheric setting of Guernsey to bring a centuries-old tale to modern audiences with Albert.
britishcinematographer.co.uk
November 4, 2025 at 1:52 PM
"I had never worked on a period drama before, so I was excited by the chance to create something that truly felt 'of its time' and deeply connected to its landscape." #filmsky
"I got told in an interview that I would never become a cinematographer as I am a technician not an artist. I know my work will end up speaking for itself." #filmsky
New Wave / Sunshine Hsien Yu Niu
Sunshine shot Rock, Paper, Scissors, a BAFTA-winning short based on a true story from the Ukrainian frontline.
britishcinematographer.co.uk
November 3, 2025 at 11:03 AM
"I got told in an interview that I would never become a cinematographer as I am a technician not an artist. I know my work will end up speaking for itself." #filmsky
"Our challenge was to create Nuremberg itself. We shot in the UK with a limited schedule and budget, so filming in a real stadium with many SAs wasn’t feasible. We knew from the outset that we’d be relying heavily on VFX to construct our Nuremberg Stadium." #filmsky
Annemarie Lean-Vercoe / Outrageous
Using high-speed Venice 2 photography, practical lighting and selective VFX, Outrageous evokes fractured memory.
britishcinematographer.co.uk
October 31, 2025 at 1:00 PM
"Our challenge was to create Nuremberg itself. We shot in the UK with a limited schedule and budget, so filming in a real stadium with many SAs wasn’t feasible. We knew from the outset that we’d be relying heavily on VFX to construct our Nuremberg Stadium." #filmsky
"We studied old photographs taken by UN soldiers and watched old documentaries from the war to capture authentic movement patterns, body language and everyday details." #filmsky
Johan Hannu FSF / A Life's Worth
A Life’s Worth is a six-part drama inspired by the first Swedish UN battalion in Bosnia in 1993, shot by Johan Hannu FSF.
britishcinematographer.co.uk
October 30, 2025 at 3:22 PM
"We studied old photographs taken by UN soldiers and watched old documentaries from the war to capture authentic movement patterns, body language and everyday details." #filmsky
“Our approach to the photography on #ISwear was led almost entirely by the performances,” Blann explains. “We realised early on that Rob in particular needed space for his performance to work, to give him the freedom to tic and improvise.”
James Blann / I Swear
DP James Blann explains how he and director Kirk Jones put performance first in one of the year’s most powerful films, I Swear.
britishcinematographer.co.uk
October 29, 2025 at 2:41 PM
“Our approach to the photography on #ISwear was led almost entirely by the performances,” Blann explains. “We realised early on that Rob in particular needed space for his performance to work, to give him the freedom to tic and improvise.”
“James [Gunn] is very specific about how he sees things. The way I use the camera is so intuitive [but] yes a lot of these scenes are very designed. But within that [is] the greater idea of the way James sees and wants to tell that story.”
DP Henry Braham BSC on #Superman...
DP Henry Braham BSC on #Superman...
Henry Braham BSC / Superman
Cinematographer Henry Braham BSC has been collaborating with James Gunn since they were telling stories about certain galactic guardians.
britishcinematographer.co.uk
October 27, 2025 at 5:06 PM
“James [Gunn] is very specific about how he sees things. The way I use the camera is so intuitive [but] yes a lot of these scenes are very designed. But within that [is] the greater idea of the way James sees and wants to tell that story.”
DP Henry Braham BSC on #Superman...
DP Henry Braham BSC on #Superman...
“I go and film things the way I feel.”
Cinematographer Frida Marzouk AFC reunites with writer-director Erige Sehirion on #PromisedSky, capturing intimate performances in Tunis with a naturalistic, handheld style and Panavision lenses 🎥
Cinematographer Frida Marzouk AFC reunites with writer-director Erige Sehirion on #PromisedSky, capturing intimate performances in Tunis with a naturalistic, handheld style and Panavision lenses 🎥
Frida Marzouk AFC / Promised Sky
Writer-director Erige Sehiri reunites with cinematographer Frida Marzouk AFC on Promised Sky, capturing intimate performances in Tunis.
britishcinematographer.co.uk
October 22, 2025 at 9:47 AM
“I go and film things the way I feel.”
Cinematographer Frida Marzouk AFC reunites with writer-director Erige Sehirion on #PromisedSky, capturing intimate performances in Tunis with a naturalistic, handheld style and Panavision lenses 🎥
Cinematographer Frida Marzouk AFC reunites with writer-director Erige Sehirion on #PromisedSky, capturing intimate performances in Tunis with a naturalistic, handheld style and Panavision lenses 🎥
"When shooting a live-action film featuring a fully computer-generated character like #Paddington, the approach to lighting doesn’t change as drastically as one might expect... light the character as if they were physically present on set."
Read more: britishcinematographer.co.uk/supplement_p...
Read more: britishcinematographer.co.uk/supplement_p...
October 20, 2025 at 11:55 AM
"When shooting a live-action film featuring a fully computer-generated character like #Paddington, the approach to lighting doesn’t change as drastically as one might expect... light the character as if they were physically present on set."
Read more: britishcinematographer.co.uk/supplement_p...
Read more: britishcinematographer.co.uk/supplement_p...
"This scene demanded a delicate balance of practical and visual effects, complex lighting for both day and night, and precise coordination across departments."
New horror Black Phone 2 boasts a climactic finale set on a frozen lake. DP Pär M. Ekberg FSF recalls how he and the team put it together 🎥
New horror Black Phone 2 boasts a climactic finale set on a frozen lake. DP Pär M. Ekberg FSF recalls how he and the team put it together 🎥
Pär M. Ekberg FSF / Black Phone 2
New horror Black Phone 2 boasts a number of shocking sequences, but none as memorable as the climactic finale.
britishcinematographer.co.uk
October 17, 2025 at 9:57 AM
"This scene demanded a delicate balance of practical and visual effects, complex lighting for both day and night, and precise coordination across departments."
New horror Black Phone 2 boasts a climactic finale set on a frozen lake. DP Pär M. Ekberg FSF recalls how he and the team put it together 🎥
New horror Black Phone 2 boasts a climactic finale set on a frozen lake. DP Pär M. Ekberg FSF recalls how he and the team put it together 🎥
“The [Dedolight] PB70 light is the key. You can put the light so close to the window, on the floor, shining upward.”
Read more about how gaffer Carolina Schmidtholstein used reflective lighting on the film #Firebrand 🎥
Read more about how gaffer Carolina Schmidtholstein used reflective lighting on the film #Firebrand 🎥
Reflective lighting
The field has advanced to the point where sufficiently clever setups can avoid the need for lifting machines.
britishcinematographer.co.uk
October 16, 2025 at 3:07 PM
“The [Dedolight] PB70 light is the key. You can put the light so close to the window, on the floor, shining upward.”
Read more about how gaffer Carolina Schmidtholstein used reflective lighting on the film #Firebrand 🎥
Read more about how gaffer Carolina Schmidtholstein used reflective lighting on the film #Firebrand 🎥
"I needed a camera with a small form factor for the intimacy and spontaneity within the series’ visual grammar and thus used a Sony FX3."
In Suspect: The Shooting of Jean Charles de Menezes, Balazs Bolygo BSC HCA crafts a rigorous reconstruction.
More: britishcinematographer.co.uk/balazs-bolyg...
In Suspect: The Shooting of Jean Charles de Menezes, Balazs Bolygo BSC HCA crafts a rigorous reconstruction.
More: britishcinematographer.co.uk/balazs-bolyg...
October 15, 2025 at 12:52 PM
"I needed a camera with a small form factor for the intimacy and spontaneity within the series’ visual grammar and thus used a Sony FX3."
In Suspect: The Shooting of Jean Charles de Menezes, Balazs Bolygo BSC HCA crafts a rigorous reconstruction.
More: britishcinematographer.co.uk/balazs-bolyg...
In Suspect: The Shooting of Jean Charles de Menezes, Balazs Bolygo BSC HCA crafts a rigorous reconstruction.
More: britishcinematographer.co.uk/balazs-bolyg...
“For #F1, we didn’t want to use biscuit rigs, where someone else is driving and the actor is pretending. That always feels like it’s going a quarter of the speed.” 🎥
Claudio Miranda ASC ACC / F1: The Movie
Claudio Miranda ASC ACC details the method he and director Joseph Kosinski implemented when lensing in the fast lane.
britishcinematographer.co.uk
October 8, 2025 at 3:24 PM
“For #F1, we didn’t want to use biscuit rigs, where someone else is driving and the actor is pretending. That always feels like it’s going a quarter of the speed.” 🎥