How the melding of Josephine Decker and Ashley Connor’s bold visions and experimental backgrounds resulted in one of the year’s most visually astounding films.
18 Emmy-nominated cinematographers on how they created their shows’ unique look, and the gear they chose to pull it off.
This year, 19 cinematographers received Emmy nominations for their work in one of three categories: Outstanding Cinematography for a Single-Camera Series (Half-Hour), Single-Camera Series (One Hour), and Limited Series or Movie.
Cinematographer Chayse Irvin’s free-form approach to images is unconventional, but it was a perfect fit for Lee’s timely film.
IndieWire celebrates the work of Rachel Morrison, Ellen Kuras, and nine other cinematography greats with the help of some of their greatest collaborators and admirers.
Emmy-nominated cinematographer Tim Ives discusses lighting the two centerpieces: the Hawkins tunnel system and the Snow Ball Dance finale.
The Female Gaze is a two-week survey of 36 films shot by 23 female cinematographers programmed by the Film Society of Lincoln Center in New York.
Emmy-nominated cinematographer Mathias Herndl came up with some visual tricks to conceptualize “Picasso” (starring Emmy contender Antonio Banderas).
IndieWire goes behind-the-scenes of the unique cinematic style and cinematography of “Atlanta,” “The Good Place,” and “Dear White People.”
The American Film Institute and Fox Studios want to make sure cinematographer Rachel Morrison’s Oscar nomination becomes the norm, rather than a rarity.
Cinematographer Simon de Glanville shot monarch butterflies in Mexico, a water fight in Varanasi, and a rocket launch in Kazakhstan as part of the interconnected wonders of Mother Earth.
Looking at a cinematographer’s body of work reveals what aesthetic aspects are specific to the cinematographer and how they impact the storytelling of the films they’ve shot.
