James Chressanthis, ASC, GSC discusses his documentary, No Subtitles Necessary: Laszlo & Vilmos, the influence of László Kovács and Vilmos Zsigmond on the field of cinematography, and their influence on his own development as a director of photography.

Director of photography James Hawkinson connects with filmmaker and American Cinematographer contributor Iain Marcks to discuss his work in the imaginative Amazon Studios series The Man in the High Castle.

Director of photography Jakob Ihre sits down with filmmaker Jim Hemphill to discuss his work on the acclaimed independent film Louder Than Bombs.

The cinematographer talks about his dynamic visual approach to this action classic. Citing an affinity for a proactive camera and experimental lighting, he details how he and his collaborators achieved “the right style for the right moment.”

Jack N. Green, ASC, connects with AC via Skype to discuss his work on Clint Eastwood’s acclaimed Western Unforgiven. Touching on his three-decade collaboration with Eastwood, Green discusses several aspects of the project, including the decision to shoot in Alberta, Canada; how he worked with production designer Henry Bumstead to develop a period-correct lighting scheme and muted color palette; the importance of shooting anamorphic; and what it’s like to collaborate with a director who is also the star.

Cinematographer Christopher Manley, ASC, discusses his work on the acclaimed drama Mad Men, including what he learned from taking some turns in the director’s chair, the production’s transition to digital capture, and his unique collaboration with Phil Abraham, who shot the pilot and moved on to direct many episodes of the series.

Cinematographer Tat Radcliffe connects with AC via Skype to discuss the gritty period thriller ’71, which he calls “a political piece, a documentary piece and a psychodrama.”

Russ Alsobrook, ASC, discusses his approach to the drama Black or White, in which a grieving widower struggles to retain custody of his young granddaughter in the wake of his wife’s death. Alsobrook explains why the filmmakers made last-minute decisions to go digital and to shoot widescreen, how they made the most of the 2.40:1 frame, and how he used lighting to illuminate the story’s complicated emotional terrain.

Cinematographer John Bailey, ASC discusses his work on the acclaimed drama Ordinary People, which marked Robert Redford’s directorial debut and was one of Bailey’s earliest feature credits. 

AC correspondent Iain Marcks surveys the scene at the 22nd annual Camerimage International Film Festival in Bydgoszcz, Poland. One of the largest gatherings of cinematographers in the world, Camerimage features several categories of competition, honors select filmmakers for their career achievements, includes seminars and panel discussions, and showcases some of the latest cinematography equipment. Featured in this podcast are cinematographer Michael Neubauer, BVK; director David Scott Smith; Phil Greenstreet of Rosco Laboratories; Sarah Priestnall of Codex; Mike Hibarger of Panavision; and AC correspondents Benjamin B and David Heuring.