Director Kim Longinotto talks about combining archives with observational filmmaking to create a portrait of Sicilian photojournalist Letizia Battaglia in Shooting the Mafia.
All in Film
Director Kim Longinotto talks about combining archives with observational filmmaking to create a portrait of Sicilian photojournalist Letizia Battaglia in Shooting the Mafia.
Stormy Isle: Q&A with Jarin Blaschke about The Lighthouse, which uses black-and-white negative, vintage lenses, and custom filters to emulate the orthochromatic film stock of old.
Cinematographer Autumn Durald Arkapaw talks about Teen Spirit and The Sun Is Also a Star in this interview.
American Cinematographers’s observations on an array of outstanding features and docs that screened at this year’s Sundance Film Festival, recommended for their creative camerawork.
ASC/Canon panel “DP First: Women Who Shoot,” discusses real-world issues with a quartet of female cinematographers working in documentary, narrative and commercials.
Robert Richardson, ASC, and director Matthew Heineman take a documentary-style approach to framing a courageous journalist’s undertakings in war-torn regions.
Director-cinematographer Reed Morano, ASC, crafts an unlit look for the postapocalyptic drama I Think We’re Alone Now
Björn Charpentier, SBC, shoots handheld anamorphic to capture a covert rescue operation for Brad Anderson's period thriller Beirut.
After seeing so many films get winemaking wrong, one vintner decided to lend a helping hand.
