Would a movie look good if the camera never moved? Camera operators often switch between long shots, medium shots, and close-ups. Using different shots can have a big effect on how the viewer experiences the story. The director of photography, or D.P., is responsible for making the decisions that lead to every perfectly captured scene. Future cinematographers will never watch a movie the same way after they learn the different ways that D.P.s light shots and use camera angles to achieve certain effects. They'll also learn how new technologies such as drones are changing the world of cinema.

For over thirty years, the New York Times Magazine has presented the myriad possibilities and applications of photography. Aperture is pleased to present the upcoming publication and exhibition The New York Times Magazine Photographs, which reflects upon and interrogates the very nature of both photography and print magazines at this pivotal moment in their history and evolution. Edited by Kathy Ryan, long-time photo editor of the magazine, and with a preface by former editorial director Gerald Marzorati, this volume presents some of the finest commissioned photographs worldwide in four sections: reportage, portraiture, style, and conceptual photography, including photo illustration. Diverse in content and sensibility, and consistent in virtuosity, the photographs are accompanied by reproduced tear sheets to allow for the examination of sequencing and the interplay between text and image, simultaneously presenting the work while illuminating its distillation to magazine form. This process is explored further through texts offering behind-the-scenes perspective and anecdotes by the many photographers, writers, editors, and other collaborators whose voices have been a part of the magazine over the years. David Campany contributes a critical essay that provides an in-depth history of the magazines relationship to photography, contextualizing its contributions within the larger world of magazine work. Also addressed are issues of documentary photography in relation to more conceptual photography; the efficacy of story-telling; and what makes an image evidentiary, objective, subjective, truthful, or a tool for advocacy; as well as thoughts on whether these matters are currently moot, or more critical than ever. As such, The New York Times Magazine Photographs aims to serve as a springboard for a rigorous, necessary, and revitalized examination of photography as presented within a modern journalistic context.

Packed with gems of wisdom from the current 'masters of light’, this collection of conversations with twenty leading contemporary cinematographers provides invaluable insight into the art and craft of cinematography. Jacqueline Frost’s interviews provide unprecedented insight into the role as cinematographers discuss selecting projects, the conceptual and creative thinking that goes into devising a visual strategy, working with the script, collaborating with leading directors such as Martin Scorcese, Spike Lee, and Ava DuVernay, the impact of changing technology, and offer advice for aspiring cinematographers. Interviews include Maryse Alberti, John Bailey, Robert Elswit, Kirsten Johnson, Kira Kelly, Ellen Kuras, Edward Lachman, Matthew Libatique, John Lindley, Seamus McGarvey, Reed Morano, Polly Morgan, Rachel Morrison, Rodrigo Prieto, Cynthia Pusheck, Harris Savides, Nancy Schrieber, John Seale, Sandi Sissel, Dante Spinotti, Salvatore Totino, Amy Vincent and Mandy Walker. Filled with valuable information and advice for aspiring cinematographers, directors, and filmmakers, this is essential reading for anyone interested in the art and craft of cinematography.

As chief collaborators with the directors on a film, cinematographers are artistic masters in their own right. In Cinematography sixteen of the world's greatest "painters of light" share their insights, anecdotes, and technical achievements through a series of exclusive interviews. Fascinating for both film fans and practitioners, this book is the perfect companion for anyone who wants to stand on the other side of the camera, with some of the greatest film artists of our time.

Excel as an Assistant Cameraman (AC) in today’s evolving film industry with this updated classic. Learn what to do—and what NOT to do—during production and get the job done right the first time. The Camera Assistant’s Manual, Sixth Edition covers the basics of cinematography and provides you with the multi-skill set needed to maintain and transport a camera, troubleshoot common problems on location, prepare for job interviews, and work with the latest film and video technologies. Illustrations, checklists, and tables accompany each chapter and highlight the daily workflow of an AC. This new edition has been updated to include: A fresh chapter on the entry level camera positions of Camera Trainee/Production Assistant Coverage of emerging iPhone apps that are used by filmmakers and ACs on set An updated companion website offering online tutorials, clips, and techniques that ACs can easily access while on location (www.cameraassistantmanual.com) All new sample reports and forms including AC time cards, resumé templates, a digital camera report, and a non-prep disclaimer Instruction and custom forms to help freelance filmmakers keep track of daily expenses for tax purposes The Camera Assistant’s Manual, Sixth Edition is an AC's bible for success and a must-have for anyone looking to prosper in this highly technical and ever-changing profession.

This guide for cinematographers will teach you all the basics of cinematography while equipping you with tons of other great resources and knowledge for more in-depth coverage. A Complete Guide to Becoming a Director of Photography clearly explains the day to day duties of a director of photography, jobs and responsibilities of the entire camera, lighting, grip and electrical departments. This book also includes a detailed breakdown of the work of 8 of the most famous DOP's in Cinema History. A Complete Guide to Becoming a Director of Photography gives you detailed insights on Cameras, Lenses, Dynamic Range, Framing, Recording Format, Crop Factor, Aperture, F-Stops & T-Stops, Stabilizers, Cinema Robots, Tow and Dolly, Camera Cars and Trailers, Lighting and Color Temperature and MUCH MORE.

There's more to being a DP than holdng a light meter! With this book as your guide, you are on your way to learning not only about the equipment and technology, but also about the concepts and thought processes that will enable you to shoot professionally, efficiently, and with artistic mastery. A leading book in the field, Cinematography has been translated into many languages and is a staple at the world's top film schools. Lavishly produced and illustrated, it covers the entire range of the profession. The book is not just a comprehensive guide to current professional practice; it goes beyond to explain the theory behind the practice, so you understand how the rules came about and when it's appropriate to break them. In addition, directors will benefit from the book's focus on the body of knowledge they should share with their Director of Photography. Cinematography presents the basics and beyond, employing clear explanations of standard practice together with substantial illustrations and diagrams to reveal the real world of film production. Recognizing that professionals know when to break the rules and when to abide by them, this book discusses many examples of fresh ideas and experiments in cinematography. Covering the most up-to-date information on the film/digital interface, new formats, the latest cranes and camera support and other equipment, it also illustrates the classic tried and true methods.