About Occupy Cinematography

Occupy Cinematography publishes craft writing for cinematographers: lighting breakdowns, lens and camera references, and coverage of the people making images for a living.

Our equipment and kit pages are maintained references, not sponsored placements. Affiliate relationships are disclosed on our affiliate disclosure page, and our editorial process is described in our editorial standards.

Latest articles

• The Same Format, Different Arguments: Why Veloso Chose 35mm for Two Completely Different Stories
• The House as Main Character: How Sebastien Goepfert Lit a Building's Psychology
• The First Feature as Translation: How Benjamin Loeb and Emma Benestan Built 'Rose' Without Repetition
• The Experienced Festival DP and the Director's Debut: Why Noah Segan Chose Sam Levy
• Michael Bauman's Intimate Summer on Cape Cod
• Mandy Walker's Legacy: A Presidential Perspective
• Lighting the Web: Jonathan Spencer on Spider-Man Brand New Day
• Demystifying the Diagram: How Lighting Schematics Shape Film
• Building a Blockbuster: Brett Pawlak on Spider-Man Brand New Day
• The Beauty of Broken Glass: Why Master DPs Resurrect Dead Formats
• Steven Poster's 'Scared to Death': Indie Horror, Big Looks
• Brett Pawlak Swings into Spider-Man: Brand New Day
• Jamie D. Ramsay's Masterclass in Confined Space Cinematography
• Mastering Moonlight: The Art of Realistic Night Scenes
• EL Zone: Lachman's Exposure Game-Changer
• Hoyte van Hoytema's IMAX Vision: The Odyssey and Beyond
• Tim Suhrstedt: A Cinematographer's Enduring Vision
• The Ever-Evolving Visual Web of Spider-Man
• Beyond the Phone: When iPhones Redefine Cinematic Vision
• The Director-DP Conflict: Warwick Thornton on Shooting Wolfram as Both Roles