Unlike actors and directors, cinematographers are rarely in the limelight—and most prefer it that way. Yet we have directors of photography to thank for creating some of the most memorable scenes in cinema history. Just think of the sharp noir contrasts of Orson Welles’ The Third Man, or Goodfellas’ iconic single-take nightclub shot.
Though it’s unlikely to make you famous, the profession can be highly rewarding—and competitive. If you’re looking to break into the industry, here’s what you need to know.
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Also called the director of photography, this is the person in charge of creating the visuals for a film, TV series, documentary, or commercial. The tools of the trade include:
- Cameras
- Lenses
- Filters
- Lighting equipment/natural light
Though cinematography requires a high level of technical knowledge, it’s fundamentally a creative endeavour. As DP Peter Emery (whose work spans documentaries, commercials, and dramas) puts it, “The role is to try and understand what it is the director and producer and writer are trying to make, and then visualise it and recreate it in your head.”
Cinematographers collaborate with the director to decide on the camera angles, framing, shooting style, and lighting that best serve a particular story or scene. It’s not just about making things look “good”: Oscar-winning DP Roger Deakins (No Country for Old Men, Blade Runner 2049) once said that “people confuse ‘pretty’ with good cinematography.”
On a larger production like a feature film, a cinematographer leads a sizable team, which includes:
- Camera and steadicam operators
- First and second assistant camera operators
- Focus-pullers
- Camera trainees
- Digital imaging technician
The lighting and rigging team includes:
- Gaffer, or chief lighting technician
- Best boy, who handles logistics
- Grips, who set up equipment
- Electricians
On a smaller production like a documentary, a DP might work on their own or with just one assistant. In the past, cinematographers didn’t tend to pick up a camera themselves; but these days, many choose to film elements themselves. Sometimes that might be out of necessity, because the budget is limited; but even on large Hollywood productions or well-funded commercials, some DPs like to do a portion of the shooting themselves.
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According to DP Bud Gallimore (The Endless River, Man Like Mobeen), a cinematographer should have “an eye for detail and a passion for lighting, cameras, movement, and storytelling.” He adds that other important qualities include being “a good listener, open-minded, playful, and interested…. Everyone is interesting. Everything is interesting. If you disagree, it’s because you’re not really looking properly.”
Working in film isn’t a 9-to-5 job, so it’s important to have a strong work ethic and be flexible. “You need to be okay with working silly hours, weird hours, and weekends,” says Gallimore.
1. Consider going to film school.
Studying for a degree in film or TV production is one avenue towards a career in cinematography, but it’s certainly not a prerequisite; plenty of people learn on the job. According to Gallimore, who went directly into work experience without studying, “There are pros and cons to both.”
Emery, who went to school for film production even though he’d already built up a lot of practical camera experience beforehand, found that studying helped him connect with future professional contacts. “You meet people at a similar level with a similar ambition to you, and I still work and know people now that I went to uni with years ago,” he says.
He adds that, if he were to do it all again, he wouldn’t necessarily have studied filmmaking straightaway. “I might do something slightly different, like study English literature or fine art, and then maybe do a one-year intensive or more practical filmmaking course. People quite like cinematographers that have studied fine art, [as they have] amazing references.”
2. Be prepared to start at the bottom.
You’ll likely have to begin your career by taking on unpaid work as a runner or as a camera trainee. “I literally made cups of tea and cleaned a cupboard for a year,” Gallimore recalls. Eventually, he began going on shoots and learning how the industry works. “You’re in the production world, so you’re immediately starting to pick up on things.”
3. Build a mental image library.
It’s important to cultivate a personal artistic sensibility. “Start watching films critically and think, Where’s the light coming from? How many sources are there? How did they do it? And why did they do it?” Emery advises. He adds that it’s a good idea to immerse yourself in the wider world by, for example, travelling or going to the theatre. “If you see some amazing light through a window, or whatever it may be that triggers your imagination, [create] a mental catalogue or a physical catalogue of thoughts and ideas.”
4. Keep developing your skills.
Once you’ve got some experience under your belt, the usual next step is to move into a specific crew role, such as second AC or lighting technician. Though you ultimately want to be a cinematographer, it’s important to take whatever initial position you’re in seriously and not be too pushy.
“You would never walk onto a set and say to the gaffer, ‘I want to be a cinematographer, by the way, but do you need some help with some lights?’ ” Emery says. “You are a lighting electrician. That’s what you’re doing; that’s what you’re getting paid for.”
It’s vital to gain experience in at least one of these crew roles so that you have a solid understanding of what they involve once you’re overseeing them as a DP. Cultivate a broad range of experiences so you can figure out what kinds of productions you want to focus on, be it documentaries, feature films, TV drama, music videos, or commercials.
5. Work on smaller projects.
Hone your skills by working on indies or shooting your own films. As you begin building connections and experience, you may also be offered DP roles on low-budget shorts or documentaries. Though you’re unlikely to earn much money on these types of productions, they can pave the way for your first big break. “They are where you learn and get creative freedom,” says Gallimore.
6. Seek out a mentor.
“If you can convince a director of photography—probably an older one who’s maybe slowing down a little bit—to take you under their wing, that’s really valuable,” Emery advises. He stresses that this isn’t the same as being a camera trainee, which involves only focusing on the tasks you’ve been assigned. Instead, he suggests cultivating a relationship with someone you can call for advice or to get feedback on your own films. Don’t be shy about approaching experienced DPs. “You’ll be surprised how generous people are in the film industry in talking about stuff,” Emery says.
Featureflash Photo Agency/DFree/Kathy Hutchins/Shutterstock
Roger Deakins
Deakins is widely considered to be one of the greatest cinematographers of all time. He’s a longtime collaborator of the Coen brothers, and worked on Sam Mendes’ 1917 and Denis Villeneuve’s Blade Runner 2049.
Guardian film critic Mark Kermode wrote of the latter film: “From vast landscapes of grey rooftops and reflectors through the rusted shells of post-industrial shelters to the burned-ochre glow of radioactive wastelands, cinematographer Roger Deakins conjures a twilight world that seems to go on forever.”
Emmanuel Lubezki
Lubezki worked with fellow Mexican filmmakers Alfonso Cuarón on Gravity and Children of Men and Alejandro G. Iñárritu on Birdman and The Revenant. Brian Tallerico wrote of Lubezki’s cinematography in The Revenant: “He works in a colour palette provided by nature, and yet enhanced. The snow seems whiter, the sky bluer. Many of his shots, especially in times of great danger—like the opening attack and the bear scene—are unbroken, placing us in the middle of the action.”
Rachel Morrison
Morrison became the first woman to be nominated for a best cinematography Oscar for her work on Dee Rees’ 2017 film Mudbound. In his review of the film, New York Times critic A.O Scott wrote: “The cinematographer, Rachel Morrison, brings the soil, the flora, and the weather to life in a way that emphasises the archaic, elemental power of the story.” Morrison’s other credits include critically acclaimed movies like Black Panther and Fruitvale Station. She’s moved into directing in recent years, helming episodes of The Mandalorian, American Crime Story, and The Morning Show.
Hoyte Van Hoytema
Christopher Nolan’s go-to cinematographer won an Oscar for his work on Oppenheimer. In an interview with the L.A. Times, he said that the movie presented a unique challenge. “In the older films, we could resort to wide shots, spectacle. This film was really turning inwards; it was all about expressions and faces and intimacy, subjectivity.” Other notable credits include Spectre, Tinker Tailor Soldier Spy, and Nope.
Bradford Young
Young was the first African American to be nominated for an Academy Award in cinematography for his work on Denis Villeneuve’s Arrival. When discussing his approach with British Cinematographer Magazine, he said, “For me, it’s about being imperfect. I’m not attracted to precision-orientated cinematography. I’m more interested in photography that has feeling.” Among his other credits are Ain’t Them Bodies Saints and Selma; he also earned an Emmy nod for Ava DuVernay’s Netflix limited series When They See Us.