The idea for #RoseOfNevada came to Mark Jenkin in a single haunting image: a fishing boat thought lost at sea that suddenly reappears in a harbour decades later.

"We were often shooting in locations where we needed to blend into the environment so the fly-on-the-wall approach worked well." #madbillstopay

"The more that the director Asim Abbasi and I spoke about the material, the more we felt like the engine beneath it was actually about rebellion." #TV

DP Julia Swain explains how VFX integration played a key role in executing scenes at the Golden Gate Bridge #filmsky

"It was a challenging production, but one grounded in a very strong sense of collaboration. At that scale and pace, you rely on the crew’s skill and instinct to keep everything moving, and trust them — and your own instincts — to carry the work forward." #filmsky

"I had read John’s book and I was really drawn to the boy’s point of view and the wonder and curiosity that this boy had, which I think everyone can really connect to." #filmsky

"The show really wouldn’t have the same texture and character if it weren’t shooting in New York, so it’s been a total blessing to be able to actually film on the streets of the city." #daredevil

"I’m fascinated by period films because of the ability to reenact imagery with a slight modernity to your approach." #filmsky

"I knew there was going to be a lot of handheld work, and all the boys are up to my chest — I’d have the camera on my shoulder and probably be crawling around on my knees most of the time." #lordoftheflies

The May/June 2026 edition of British Cinematographer is here! As #Euphoria wraps up, director Sam Levinson and cinematographer Marcell Rév ASC HCA explain how they expanded the portrait of youth. For a full breakdown of the issue: linktr.ee/BCineMag 📸: HBO Max

"I think what appealed to me most about this portrait was the depth of the character and the freedom to explore his environment through the lens of the camera." #filmsky

"For me, everything starts with the story, and the photography should work alongside the storytelling and never overwhelm or distract from it, so I was eager to begin breaking down the story points." #corriedale

Legendary filmmaker James Cameron has taken a break from Pandora to direct #BillieEilish - Hit Me Hard And Soft: The Tour, a groundbreaking concert movie pushing the boundaries of 3D storytelling #filmsky Here, he tells us how it came together... Watch more: bcineplayer.com/legendary-di...

In this exclusive British Cinematographer interview, pioneering filmmaker and innovator James Cameron discusses the future of immersive storytelling and 3D technology #filmsky

"The question mark in this show is always about tone, because it plays with a big blend of genres – it’s not quite classical comedy, it’s not quite drama." #filmsky

#RoseOfNevada writer, director and DP Mark Jenkin shares his advice for filmmakers: follow your own path. Keep your eyes peeled for more from Jenkin in the May/June edition of the magazine – coming soon!

"It was the 12mm that became the film’s most expressive tool." #filmsky

"Working around water is always challenging. Nothing stays still, so every shot is slightly different." #filmsky

"We really wanted to do a lot of open shots and a lot of dolly shots, just panning around and just living in the world of those times." #filmsky

"It became a discussion about how can we not only meet the same standards of thriller cinematography we managed in series one, but elevate it." #filmsky

"I felt that the character of anamorphic lenses was essential to creating a cinematic image." #filmsky

"It became a very intimate relationship with David [Lynch] because it really was just a few of us shaping this story scene by scene. It did change, but it was our growth that changed it." #filmsky

"Uniquely to this film, I was allowed to paint with light without feeling the restraint of reality." #filmsky

"Ultimately, for me The ‘Burbs was a reminder that sometimes what at first feels like a limitation can actually spark more creativity." #filmsky

"The lighting of the film was always going to be challenging. Icelandic weather is notoriously changeable and high winds make it difficult to rely on machines and large bounces or sun block." #filmsky

The March/April 2026 edition of British Cinematographer is here - with a comprehensive cover story on all things #PeakyBlinders: The Immortal Man! 📽️ For a full breakdown of the issue, head to the BC website: britishcinematographer.co.uk/take-a-sneak... 📸: Netflix

"I always equated David’s prep process to gathering his box of paints." #filmsky

"The Famous Five is a group — four young people and a dog — so I needed to use lenses that did not have too much aberration left and right of frame." #filmsky

"Being on stage getting this award for a movie like that will change so many girls’ lives because they’ll be inspired when they weren’t before." #filmsky

"The director had a way of presenting thoughts and ideas that hit me straight – no lost words – and that helped us prepare our camera department." #filmsky

"Shooting this film was as much a learning experience due to the new gear as it was a great collaboration." #filmsky

"Kogonada and I had talked about making a film like this for years. It was born out of a desire to get back to the basics of creativity." #filmsky

"We had to behave like a very small documentary team, as if no camera existed at all." #filmsky

"You felt this laser focus from everyone on set every day because the stakes felt higher to capture such an amazing performance." #filmsky

"It started as a really precise emotional drama, but gradually we rediscovered it as kind of a rom-com." #filmsky

"Shooting on the Alexa 35, we chose anamorphic lenses as it underlined the comedy in composition." #filmsky

"It was a special place to be with a camera and witness such stirring performances." #filmsky

"I come from theatre — lighting Shakespeare and modern dance — so bringing that sensibility into this project was deeply fulfilling." #filmsky

"There’s a fierce optimism that somehow [James Cameron is] going to overcome whatever technological challenge that gets thrown to him." #filmsky

"One of our considerations for choosing our lenses was how much candlelight we would be using, and our desire for a consistent, pleasing bokeh." #filmsky

"We used and embraced every new kind of technology we could to bring it forward and keep up with what had already been done in the past." #filmsky

"I watched the older version a long time ago, but I didn’t want to mimic anything or make it feel like a part two." #filmsky

"Super 16 is such a look now, because we’re so used to digital, but obviously 10, 15 years ago, it would have been really normal." #filmsky

"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

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

"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

"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."

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...

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...

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