"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

"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...

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

"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

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/

"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."

"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

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

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

"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

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

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

“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

“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

Sixteen films are on the #Oscars shortlist. Which would you like to see nominated? #filmsky Read more: britishcinematographer.co.uk/oscars-annou...

"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

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

"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 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...

"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

“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...