American Cinematographer’s Jim Hemphill interviews director Nicolas Winding Refn about how shooting Valhalla Rising in the remote Scottish Highlands impacted his creative vision, and he discusses using the Red camera with cinematographer Morten Søborg.

Edward Lachman, ASC, talks about the concepts behind visualizing the work of artists Bob Dylan and Allen Ginsberg, especially on the indie Howl.

Phedon Papamichael, ASC discusses the complexities of shooting the big-budget, effects-filled Tom Cruise movie, Knight and Day, comparing this large and highly technical shoot with some his previous, smaller films.

John Bartley, ASC, CSC discusses his work on the J.J. Abrams series Lost — including the peculiarities of shooting on location in Hawaii and working a show with multiple cinematographers.

Victor J. Kemper, ASC reviews his work on the 1973 film The Friends of Eddie Coyle, starring Robert Mitchum and shot entirely on location in Boston and Connecticut, with fellow ASC member Richard Crudo.

Russell Carpenter, ASC, discusses shooting the action-comedy Killers, directed by Robert Luketic.

Steven Fierberg, ASC discusses setting the look the HBO series on location in New York, his career in New York's lower East side and choosing digital or photochemical.

Cinematographer Peter Biagi talks with American Cinematographer about shooting the 2009 feature Under New Management about maintaining a career in the Chicago area, shooting on location in New York and working as a camera operator for Robert Altman.

Stephen Goldblatt, ASC, BSC, cinematographer of Percy Jackson & the Olympians: The Lightning Thief, talks about shooting this digital effects extravaganza on a limited budget, and the increasing presence of digital tools in production.

Cinematographer Barry Markowitz, ASC talks with American Cinematographer's Iain Marcks about his work on Scott Cooper's film Crazy Heart, discussing working with actor/directors, shooting this modestly budgeted indie film on location and working with actor Jeff Bridges.