Swarnim Gawade / Cyclops While building a world that blends visual languages, Swarnim Gawade found inspiration in 12mm for Cyclops.

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

Stephen Murphy BSC ISC / Primate In one of Primate’s most tense sequences, its characters try to escape a bloodthirsty chimp by diving into an infinity pool.

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

Evgenia Alexandrova AFC / The Secret Agent Cinematographer Evgenia Alexandrova AFC talks about digging up old memories and shedding new light on the past.

"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

Ed Moore BSC / Hijack Hijack continues to captivate audiences, with the action switching from the skies to Berlin’s underground in series two.

"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

Woo-hyung Kim / No Other Choice Park Chan-wook’s No Other Choice, shot by Woo-Hyung Kim, uses genre and visual precision to reveal morality eroded by economic pressure.

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

Frederick Elmes ASC / Eraserhead Frederick Elmes ASC recalls bringing David Lynch’s disturbing debut to the screen, revealing how Eraserhead emerged from the darkness.

"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

Linus Sandgren ASC FSF / Wuthering Heights Shooting on 35mm and VistaVision, Linus Sandgren ASC FSF embraced a painterly approach when helping achieve Emerald Fennell’s bold vision.

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

Jonathan Furmanski / The ‘Burbs Director of photography Jonathan Furmanski reveals how he helped to remake a classic movie for a modern TV audience.

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

Ollie Downey BSC / The Fires Ollie Downey BSC recounts shooting The Fires in Iceland, navigating volcanic eruptions, extreme weather and a tiny crew.

"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

A cover of British Cinematographer magazine with Cillian Murphy and Barry Keoghan on

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

Peter Deming ASC / Mulholland Drive Peter Deming ASC recounts working on legendary director David Lynch’s surreal LA noir Mulholland Drive (2001).

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

Caroline Bridges / The Famous Five Cinematographer Caroline Bridges reimagines The Famous Five with nostalgic tungsten glow, cinematic depth and modern LED finesse.

"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

Sinners’ Autumn Durald Arkapaw ASC wins Academy Award for Best Cinematography – makes Oscars history Autumn Durald Arkapaw ASC has won the Best Cinematography Academy Award for her work on Sinners - making history.

"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

Stuart White / Reckless Reckless, starring Scott Adkins, Vinnie Jones and newcomer Nicole Deon, gave a unique challenge to DP Stuart White and his team.

"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

Fyras Slaiman / Vocabulary Cinematographer Fyras Slaiman explains how he worked with director-star Zhizi Hao to execute the visual language of romance Vocabulary.

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

Benjamin Loeb FNF and Sheldon Chau / zi Cinematographer Benjamin Loeb FNF and Sheldon Chau explain how they helped to craft the film through a "desire for something different".

"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

Amin Jafari / It Was Just an Accident There are many powerful scenes in Iranian drama It Was Just an Accident. However, the penultimate sequence is striking in its simplicity.

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

Ben Fordesman BSC / Anemone Ben Fordesman BSC reveled in collaboration and creative problem-solving with a kindred spirit for Ronan Day-Lewis' Anemone.

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

Nick Morris / Pillion Nick Morris brings a restrained, emotionally precise visual style to Harry Lighton’s Pillion, balancing kink, tenderness and British grit.

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

Ashley Barron ACS / How to Get to Heaven From Belfast Lead cinematographer Ashley Barron ACS explains how she shaped a visually expressive look in How to Get to Heaven from Belfast.

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

Jake Duncan / Little Bug On 3 November 1957, the Soviet Union launched Laika, a stray dog from the streets of Moscow, into the Earth’s orbit.

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

Amy Vincent ASC / Song Sung Blue Amy Vincent ASC captures Song Sung Blue, a love story of two musicians inspired by a legendary American singer-songwriter.

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

Russell Carpenter ASC / Avatar: Fire and Ash With Avatar: Fire and Ash, the Pandora saga continues, as cinematographer Russell Carpenter ASC details his work on the film.

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

William Rexer ASC / The Testament of Ann Lee Every scene in The Testament of Ann Lee, following the titular leader of the Shaker Movement, is unique, stylish and supporting of its story.

"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

Jeff Cronenweth ASC / Tron: Ares Jeff Cronenweth ASC explains how he shot a sci-fi spectacular that’s the latest in a series with a storied visual legacy.

"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

Chung-hoon Chung ASC / The Running Man The Running Man remakes the Schwarzenegger classic, embracing Stephen King’s darker vision with DP Chung-hoon Chung ASC’s rich cinematography.

"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

Vanessa Whyte BSC / Dragonfly Dragonfly explores an unusual friendship between two neighbours. Behind the camera, Vanessa Whyte BSC made the most of Super 16 film.

"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

ShotDeck Recreations: François Vallet (Sin City) We hear from François Vallet about how he recreated of a scene from Sin City, which saw him win Grand Prize in the Best Production Design category.

"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

Lorenzo Levrini / Wasteman Director Cal McMau’s debut feature follows Taylor (David Jonsson), an inmate who is up for early release, lensed by Lorenzo Levrini.

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

FilmLight Colour Awards Episodic winner: Peter Doyle We chat to this year’s episodic winner, Peter Doyle, about grading two perspectives, each with two timelines.

"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