https://www.sheldonwalker.com/foam-party daily 0.75 2015-12-15 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1450148504828-49LQ6OWFJJ7M65H81RRQ/image-asset.jpeg Foam Party - "Foam Party" https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1450148504828-49LQ6OWFJJ7M65H81RRQ/image-asset.jpeg Foam Party - "Foam Party" https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1433967721851-1G5NO1K23FZWJE5JWDLF/A001_C007_0606Z0.0000106.jpg Foam Party https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1433967723029-UT5IMC3KG5TTF12RXZ81/A005_C014_06074E.0000464.jpg Foam Party https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1433967722300-4LH2TZX6DPD9JLANE726/A001_C015_0606V6.0000233.jpg Foam Party https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1433967722698-Y9BTZAO8ECDBYT3LZG3D/A004_C003_0607RA.0002090.jpg Foam Party https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1433967722112-OUGRXYXOPW3SGJXFPSSG/A001_C013_0606H1.0000559.jpg Foam Party https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1433967954455-JCEWJ0QV6N275QSVU6P8/A004_C019_0607MH.0002828.jpg Foam Party https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1433967722459-Y5I160CZ81JLJXY4BT9R/A002_C005_0606S2.0003478.jpg Foam Party https://www.sheldonwalker.com/home daily 1.0 2023-11-29 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1584283496204-FEY4Z17R981KKV0927GI/I+Am+Here+Screenies_1.6.1.jpg Home https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1584283529480-VDUO42Z270IVM7NQ52PW/I+Am+Here+Screenies_1.6.1.jpg Home https://www.sheldonwalker.com/posts daily 0.75 2023-12-23 https://www.sheldonwalker.com/posts/2021/4/5/wisdom-of-the-old-masters monthly 0.5 2021-04-05 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1617649503608-H5ZBP53DGWUYDKRHSXRJ/3c6ccad4eb383e3532188a2cc86d7a96.png Posts - Wisdom of the Old Masters Camp with Oil Rig (1930-1933) https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1617651567962-H98L2VNMSUN3S39GGZPO/Mini-LF-and-Deakins.003.jpeg Posts - Wisdom of the Old Masters He thinks you can show restraint while shooting digital. I say maaaaybe. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1617650972888-SEW3KPB1LFWXBOG63RYG/screenshot-2020-11-21-at-18-1.48.16.png Posts - Wisdom of the Old Masters Black & white is the past, not the future. Should it really be a challenge for so many of us? https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1617651051305-MB1X7MBKYJHGJYQHF8IB/MV5BYmQ0YTVmNzYtYWFiMC00MjA0LWJlMjMtYTY4Y2I0MGZiMWQ5XkEyXkFqcGdeQXVyNzQ1NjgzOTA%40._V1_.jpg Posts - Wisdom of the Old Masters I’m not saying you can’t do this anymore, but…. good luck. https://www.sheldonwalker.com/posts/2021/2/19/hyicayosxc7d7mgedfzen08hcc1gga monthly 0.5 2021-02-19 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1613726253051-OQSYERSLIWFZ8NP2VW4J/Coppola-Pacino-and-Others-on-the-set-of-Godfather-2.jpg Posts - The On-Set Hierarchy: Actors vs. DP These famous toplights caused strict restrictions for the actors. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1613725429161-Z7EW5PO6G5NAGTLI9N8E/Screen+Shot+2021-02-19+at+11.59.55+AM.png Posts - The On-Set Hierarchy: Actors vs. DP Nothing wrong with humble beginnings. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1613726723823-H7GXDEJY4L2RGIYIFBMN/Ida_063.jpg Posts - The On-Set Hierarchy: Actors vs. DP https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1613727084456-17E00BG55T314XK29VHK/Honey-Boy-trailer-Shia-LaBeouf-glasses-700x300.jpg Posts - The On-Set Hierarchy: Actors vs. DP Latest tech coming in to save her artistic intentions!! https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1613726709412-ALP7EW2X68BR9PY3M4YY/godfather210.jpg Posts - The On-Set Hierarchy: Actors vs. DP https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1613726718174-IQRIEC5A4VW2TSP9IK92/perdition280.jpg Posts - The On-Set Hierarchy: Actors vs. DP https://www.sheldonwalker.com/posts/2019/6/14/technology-controlling-creativity monthly 0.5 2023-12-27 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1560677924161-9UBQXA7EI0698BIPZX2V/MV5BZjY4MjJlZTctYWQyNS00NGNiLWI2ODItNDVlYjA4ZjA0MDk4XkEyXkFqcGdeQXVyNzg2ODI2OTU%40._V1_.jpg Posts - How Technology is Controlling our Creativity https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1560673302148-ZHHJRWZQMTVK1UOI9LHX/image-asset.jpeg Posts - How Technology is Controlling our Creativity Look at us now! https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1560673025008-47YU45ZLNMFU8C0FLJJX/image-asset.jpeg Posts - How Technology is Controlling our Creativity One light can now do several colors at once. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1560746638598-V49AXFYBFOQG3390N7ZC/image-asset.gif Posts - How Technology is Controlling our Creativity The lights never stop animating in this film. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1560673182524-7CEOY3BW1BAUICK1L6JX/image-asset.jpeg Posts - How Technology is Controlling our Creativity This used to be all the color variety we had. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1560673349976-DITFGG3O2EKDFYVTGJB0/image-asset.jpeg Posts - How Technology is Controlling our Creativity https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1560673230040-F96R1SRWR4MZO2ZOEIQS/image-asset.jpeg Posts - How Technology is Controlling our Creativity https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1560674412884-2E5786Y534GEHHACHLIX/image-asset.png Posts - How Technology is Controlling our Creativity New Lightsabers! https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1560671949722-INEI0VLAMNKVQ9BD5R0R/image-asset.jpeg Posts - How Technology is Controlling our Creativity Classic films like “Citizen Kane” (1941) are still considered to have some of the best cinematography of all time. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1560674197960-BMOHUY1FEPQZ9UIADSTL/image-asset.jpeg Posts - How Technology is Controlling our Creativity Old Lightsabers https://www.sheldonwalker.com/posts/2019/5/19/large-format-perspective monthly 0.5 2021-04-05 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1558312043237-X9FRUDAA9W2V2D0963MX/i.jpg Posts - Debunking the Myth of Large Format "Perspective" - S16 The depth of field changes with sensor size, but everything else is the same. The nose, the head, the doorway all the same size. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1558312119384-775A132P4KR2J14PX6V9/e1tbhtQg.jpg Posts - Debunking the Myth of Large Format "Perspective" I can’t deny this is a pretty sick setup though. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1558312051296-OZC31KD5HW7E66TLZI17/i+2+2.jpg Posts - Debunking the Myth of Large Format "Perspective" - FF https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1558481234140-4XBRQTZ62K2KAG5T52SY/Camera+Format+Comparison.jpg Posts - Debunking the Myth of Large Format "Perspective" I was sad to leave the birdie out of the frame too. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1558310260992-9RGLRCBUFBAFROAZZ9TJ/Practical-Optics-Notes-on-Lenses-Elastic-Formats-thefilmbook.jpg Posts - Debunking the Myth of Large Format "Perspective" See this is wrong, but only in a super technical mostly completely irrelevant way. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1558312047419-EA56FATPWX3WE2HBBH2X/i+2.jpg Posts - Debunking the Myth of Large Format "Perspective" - S35 https://www.sheldonwalker.com/posts/2017/9/21/insecure-season-2-2017-dp-ava-berkofsky-patrick-cady monthly 0.5 2019-09-16 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1506018361610-CWJC2AQ76EQXXLGNF6EE/Kelli+01.gif Posts - Insecure Season 2 (2017) - DP: Ava Berkofsky & Patrick Cady https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1506018362415-EE1OVKBKZ5RRJ38R4DML/Kelli+02.gif Posts - Insecure Season 2 (2017) - DP: Ava Berkofsky & Patrick Cady https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1506018367455-3THTTDX0IZ8WJ4ZGC61B/Kelli+03.gif Posts - Insecure Season 2 (2017) - DP: Ava Berkofsky & Patrick Cady https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1506018371805-A8IFPPY58EFYASHDBG5T/Kelli+04.gif Posts - Insecure Season 2 (2017) - DP: Ava Berkofsky & Patrick Cady https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1506018371981-2SWH00WEE0VPCTEIBIJQ/Kelli+05.gif Posts - Insecure Season 2 (2017) - DP: Ava Berkofsky & Patrick Cady https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1506018376409-ZVZVR6LV2NVH2NPA135H/Kelli+06.gif Posts - Insecure Season 2 (2017) - DP: Ava Berkofsky & Patrick Cady https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1506020185089-A1KUHO1S6ILC70DBWOG1/the+help.jpg Posts - Insecure Season 2 (2017) - DP: Ava Berkofsky & Patrick Cady Davis stirred up controversy by portraying a black maid in "The Help" (2011) https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1506019654838-W0858NX33AP9OEJP8Y5S/Screen+Shot+2017-09-21+at+2.32.16+PM.png Posts - Insecure Season 2 (2017) - DP: Ava Berkofsky & Patrick Cady "Malcolm X" photographed by Ernest Dickerson uses hard light on dark faces. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1506019668275-KZWY54SHN7ALTZOONVOL/Screen+Shot+2017-09-21+at+2.45.51+PM.png Posts - Insecure Season 2 (2017) - DP: Ava Berkofsky & Patrick Cady Upcoming film "Black Panther" directed by Ryan Coogler also uses hard light as well as overexposure. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1506019758136-5QUSCMS5EN14DDSS13GP/belly.png Posts - Insecure Season 2 (2017) - DP: Ava Berkofsky & Patrick Cady "Belly" photographed by Malik Sayeed uses a style similar to Berkofsky's on dark skin. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1506017814976-8MJGLEFE9QHKKF73WX7R/07-sterling-k-brown-insecure.w600.h315.2x.jpg Posts - Insecure Season 2 (2017) - DP: Ava Berkofsky & Patrick Cady Dark skin almost appears to glisten under Berkofsky's lighting. https://www.sheldonwalker.com/posts/2017/5/16/the-handmaiden-2016-dp-chung-hoon-chung monthly 0.5 2017-05-16 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1494916150890-T6XLOX9S4GGBJ5FN7BAA/image-asset.png Posts - The Handmaiden (2016) - DP: Chung-hoon Chung The right angle takes a bit of thought sometimes. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1494916208423-R5K4KVYS2UY85BLBSDVY/image-asset.png Posts - The Handmaiden (2016) - DP: Chung-hoon Chung A beautiful set is easier to light. https://www.sheldonwalker.com/posts/2017/4/16/prisoners-dp-roger-deakins-vs-nocturnal-animals-dp-seamus-mcgarvey monthly 0.5 2017-04-16 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1492384362680-DVKMNZRUU9PH26ADJF1M/image-asset.png Posts - Prisoners - DP: Roger Deakins vs. Nocturnal Animals - DP: Seamus McGarvey Nocturnal Animals - Beautiful and stark lighting. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1492383303209-1URMKWK91U8QUROCZCEP/image-asset.png Posts - Prisoners - DP: Roger Deakins vs. Nocturnal Animals - DP: Seamus McGarvey Nocturnal Animals - The road goes on forever in cool moonlight. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1492384172670-1U6HSBZERGUSLY2O22BN/image-asset.png Posts - Prisoners - DP: Roger Deakins vs. Nocturnal Animals - DP: Seamus McGarvey Prisoners - Practical lighting leaves much of the frame in darkness. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1492385734857-13T0ZWUJO6O3E9E5VFM7/image-asset.png Posts - Prisoners - DP: Roger Deakins vs. Nocturnal Animals - DP: Seamus McGarvey Prisoners - This shot gives an impression of the kidnapper and the family at the same time. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1492383894836-01HZ2WR07BQBRR9X0429/image-asset.png Posts - Prisoners - DP: Roger Deakins vs. Nocturnal Animals - DP: Seamus McGarvey Prisoners - Motivated practical lighting reigns. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1492384784994-U1GZMTUAMSM9ZDCAO8IG/image-asset.png Posts - Prisoners - DP: Roger Deakins vs. Nocturnal Animals - DP: Seamus McGarvey Prisoners - Keller's dream shows us another side of Deakins. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1492385583950-J4XHC8DFJFELAFHXPMYJ/image-asset.png Posts - Prisoners - DP: Roger Deakins vs. Nocturnal Animals - DP: Seamus McGarvey Prisoners - Bland, flat lighting. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1492385496910-3A1M7DFE5QX5MJN3C6JQ/image-asset.png Posts - Prisoners - DP: Roger Deakins vs. Nocturnal Animals - DP: Seamus McGarvey Nocturnal Animals - Leans more toward a cinematic look. https://www.sheldonwalker.com/posts/2017/3/30/carol-2015-dp-ed-lachman monthly 0.5 2017-09-21 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1491081949345-ZQEPQQ3U6TI5XMT7B8DL/image-asset.jpeg Posts - Carol (2015) - DP: Ed Lachman Beautiful 16mm film grain. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1491081734043-6FBOS9OUCGMG2RJKFM4W/image-asset.jpeg Posts - Carol (2015) - DP: Ed Lachman We observe Carol and Harge from Therese's point-of-view. The foreground helps sell the subjectivity. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1491081653388-5MQ4OK6U9LI12PSFQRSU/image-asset.jpeg Posts - Carol (2015) - DP: Ed Lachman It takes a lot of confidence to show up on set everyday and break the rules. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1491082603615-W474WHU78ECMOST1UW8O/image-asset.jpeg Posts - Carol (2015) - DP: Ed Lachman Unconventional angles are pervasive throughout the movie. https://www.sheldonwalker.com/posts/2017/3/1/the-lego-batman-movie-2017 monthly 0.5 2017-05-16 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1490122225782-DYT1NW174GRIHMVZS1VV/life+of+pi+before+and+after.jpg Posts - The LEGO Batman Movie (2017) - Lensing Director: Behzad Mansoori-Dara, Lighting Director: Craig Welsh Sometimes CG cinematography does get recognition. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1490123427150-HUWGOD1WDXEWVNK7G02K/image-asset.png Posts - The LEGO Batman Movie (2017) - Lensing Director: Behzad Mansoori-Dara, Lighting Director: Craig Welsh https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1490122892326-8BDUGGH3L70E34K0IFIZ/image-asset.png Posts - The LEGO Batman Movie (2017) - Lensing Director: Behzad Mansoori-Dara, Lighting Director: Craig Welsh Sometimes the question is "Why?" Other times the question is "Why not?!" https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1490123033855-BSZSR2D3UDMCERW1OOHP/image-asset.png Posts - The LEGO Batman Movie (2017) - Lensing Director: Behzad Mansoori-Dara, Lighting Director: Craig Welsh Red everywhere. https://www.sheldonwalker.com/posts/2016/1/26/mkznaqwxo0fbolaf8endfq9zkynrwr monthly 0.5 2017-04-16 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1453843266526-9VWH3JQS0N173VCVED64/image-asset.jpeg Posts - Ex Machina (2015) - DP: Rob Hardy Over the shoulder shot with both characters framed to the left. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1453844745018-GL44JQIN8I3O0262JE7Y/ex+machina+1+%281%29.jpg Posts - Ex Machina (2015) - DP: Rob Hardy Beautiful anamorphic photography https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1453844208038-K8JR15ARXPWM9HW46L6O/image-asset.jpeg Posts - Ex Machina (2015) - DP: Rob Hardy The lighting says it all in this shot. https://www.sheldonwalker.com/posts/2015/12/27/far-from-the-madding-crowd-2015-dp-charlotte-bruus-christensen monthly 0.5 2017-04-01 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1451272357691-YX5X70V6PW43YY8M6WKE/image-asset.jpeg Posts - Far from the Madding Crowd (2015) - DP: Charlotte Bruus Christensen The silhouetted background allows for the exterior moonlight to appear more prominently. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1451273345460-8XVOHEQX1JTODP7QHRHT/Screen+Shot+2015-12-23+at+10.46.53+PM.jpg Posts - Far from the Madding Crowd (2015) - DP: Charlotte Bruus Christensen She's lit from the right, but the gentleman in the background is lit from the left. Lighting control. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1451273167149-2R40AJX0FE838ATQU9Q0/image-asset.jpeg Posts - Far from the Madding Crowd (2015) - DP: Charlotte Bruus Christensen When the characters are talking but you're really focused on just how awesome everything looks. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1451272497314-VLIQZJPOMI32N6YTYKOE/Screen+Shot+2015-12-23+at+10.52.19+PM.jpg Posts - Far from the Madding Crowd (2015) - DP: Charlotte Bruus Christensen The light on the actors is definitely coming from within the room, but it manages to leave large areas of the background unlit. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1451272953793-RJQA2NTFEM9SUEYZ5VY7/Screen+Shot+2015-12-27+at+9.52.36+PM.jpg Posts - Far from the Madding Crowd (2015) - DP: Charlotte Bruus Christensen When you find a director who doesn't mind everything dark, always use a backlight. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1451272692173-C9JX3FPXGT3C7UN1E4KX/image-asset.jpeg Posts - Far from the Madding Crowd (2015) - DP: Charlotte Bruus Christensen Maybe those guys at the table were on a Skype call because none of them is wearing pants. https://www.sheldonwalker.com/posts/2015/7/26/fifty-shades-of-grey-2015-dp-seamus-mcgarvey monthly 0.5 2017-03-21 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1437954645291-HU7VCTIVI0M9D4TJL029/image-asset.jpeg Posts - Fifty Shades of Grey (2015) - DP: Seamus McGarvey The way her nose shadow crosses her face right under her eye is normally a big no, but McGarvey embraces it. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1437955077677-1D69EL6DR2694003910Q/image-asset.jpeg Posts - Fifty Shades of Grey (2015) - DP: Seamus McGarvey You can tell the wide angle Panavision C-Series lenses by the very obvious barrel distortion. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1437954952382-RVE4WYOCSJIH69C8BQWQ/image-asset.jpeg Posts - Fifty Shades of Grey (2015) - DP: Seamus McGarvey Emphasizing the right moments is key. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1437954714188-5BQ2F3KQ7POI7JEPZR32/image-asset.jpeg Posts - Fifty Shades of Grey (2015) - DP: Seamus McGarvey In this scene, McGarvey lets the lighting do the talking. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1437954669228-NCM82R6P9RWSSXO8HWPJ/image-asset.jpeg Posts - Fifty Shades of Grey (2015) - DP: Seamus McGarvey Another example of the very present nose shadow. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1437955015059-NSROWTAIRD8WUHSMV8UT/IMG_0269.jpg Posts - Fifty Shades of Grey (2015) - DP: Seamus McGarvey The pristine lobby to Grey Enterprises. https://www.sheldonwalker.com/posts/2015/4/29/no-country-for-old-men-2007-dp-roger-deakins monthly 0.5 2016-01-26 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1430358277424-MQXIRWZWM6O34OKSIYY2/No+Country+2.jpg Posts - No Country for Old Men (2007) - DP: Roger Deakins The attack plays mostly in these 2 shots, showing the terror of Anton Chigurh. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1430358524261-0JTMBUUNVAST3R9YRCJ0/No+Country+4.jpg Posts - No Country for Old Men (2007) - DP: Roger Deakins He lights dust to get the trucks in silhouette. P.S. Sorry for all the black bars :( https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1430358344680-UEHKV0QWOVXX0YUODA13/No+Country+5.jpg Posts - No Country for Old Men (2007) - DP: Roger Deakins It's almost too simple. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1430358287593-SZTF2TXE4JYUJ2IYZZDN/No+Country+1.jpg Posts - No Country for Old Men (2007) - DP: Roger Deakins https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1430358428891-FOW508BLNHDSDBWJ4NQQ/No+Country+3.jpg Posts - No Country for Old Men (2007) - DP: Roger Deakins It's actually really extraordinary how much he says about Moss in how he lights this shot. https://www.sheldonwalker.com/posts/2015/3/10/house-of-cards-season-3-2015-dp-martin-ahlgren-and-peter-konczal monthly 0.5 2016-01-26 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1425983338537-LLWKGR8CXRL2ZXVKI3H1/IMG_0132.jpg Posts - House of Cards Season 3 (2015) - DP: Martin Ahlgren, Peter Konczal, and Paul Elliott The low angle here gives tension to this interaction. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1425983021433-X7881K7R7D1CCSUH616Y/image-asset.jpeg Posts - House of Cards Season 3 (2015) - DP: Martin Ahlgren, Peter Konczal, and Paul Elliott A simple push-in does wonders for this show. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1425983746776-C4K60CJIF9K6BYJP3K1C/image-asset.jpeg Posts - House of Cards Season 3 (2015) - DP: Martin Ahlgren, Peter Konczal, and Paul Elliott Scandal https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1425983046334-JYAT43KMDSTENM5OV21Y/image-asset.jpeg Posts - House of Cards Season 3 (2015) - DP: Martin Ahlgren, Peter Konczal, and Paul Elliott https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1425983725458-H8H8D0NGRCCH1STP123S/image-asset.jpeg Posts - House of Cards Season 3 (2015) - DP: Martin Ahlgren, Peter Konczal, and Paul Elliott House of Cards https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1425983392088-8XTP8JKAXGBK8JVJL7W4/IMG_0141.jpg Posts - House of Cards Season 3 (2015) - DP: Martin Ahlgren, Peter Konczal, and Paul Elliott Emphasizing the depth of the space. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1425983771663-U6JH5KEU8RNENRK532EC/image-asset.jpeg Posts - House of Cards Season 3 (2015) - DP: Martin Ahlgren, Peter Konczal, and Paul Elliott The West Wing https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1425984155572-21ZLFN0PTCNNH6HLWY22/image-asset.jpeg Posts - House of Cards Season 3 (2015) - DP: Martin Ahlgren, Peter Konczal, and Paul Elliott Darkness completely takes over the image. https://www.sheldonwalker.com/posts/2015/2/6/schindlers-list-1993-dp-janusz-kaminski monthly 0.5 2015-07-27 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1423285393335-1HPEK9ASZTH2BWNOOTKR/image-asset.jpeg Posts - Schindler's List (1993) - DP: Janusz Kaminski The simplicity here makes this shot a million times more impactful. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1423285424858-SGI7UZIX3S8EWQF096XT/image-asset.jpeg Posts - Schindler's List (1993) - DP: Janusz Kaminski Ominous toplight in a stand out scene for lighting. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1423285381117-1FQ4TROUX9V9IT24OKGC/schindler%27s+list+3.jpg Posts - Schindler's List (1993) - DP: Janusz Kaminski They stay away from embellishing the violence, in favor of objectivity. https://www.sheldonwalker.com/posts/2015/1/15/a-most-violent-year-2014-dp-bradford-young monthly 0.5 2015-04-30 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1421366389614-KRA8C6ACOGQX94SXDNMN/image-asset.jpeg Posts - A Most Violent Year (2014) - DP: Bradford Young It's so simple, but still brilliant. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1421365886688-GOS1FKZZ6JX2WRCQ762W/a+most+violent+year+2.jpg Posts - A Most Violent Year (2014) - DP: Bradford Young As the shadows blend the actors start to feel as though they are part of the environment. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1421366278158-T7P2R4GFCP9IQ2XTJO1C/image-asset.jpeg Posts - A Most Violent Year (2014) - DP: Bradford Young I couldn't find a screenshot of the car chase, but this is the part after :) https://www.sheldonwalker.com/posts/2015/1/3/mr-turner-2014-dp-dick-pope monthly 0.5 2015-03-10 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1420334154147-6802N7ZKJN31J99R491D/mr.+turner+1.jpg Posts - Mr. Turner (2014) - DP: Dick Pope "Mr. Turner" on the left and "Lincoln" on the right. Just add fill and voila! https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1420334168087-4VVA3M2E6HRT8AZVWZ09/image-asset.jpeg Posts - Mr. Turner (2014) - DP: Dick Pope https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1420334526005-QVLQ0GOP9FDM7ICZZW6Q/image-asset.jpeg Posts - Mr. Turner (2014) - DP: Dick Pope Maybe the film doesn't require anything special, but then is it even an achievement? https://www.sheldonwalker.com/posts/2014/12/22/barry-lyndon-1975-dp-john-alcott monthly 0.5 2017-04-12 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1419282932296-IOQYVRDCD4I6KAJ8Z4GS/barry+lyndon+2.png Posts - Barry Lyndon (1975) - DP: John Alcott Sometimes the lighting just is what it is. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1419283518410-S0L7SMTBKNKDMDAWUJPA/image-asset.jpeg Posts - Barry Lyndon (1975) - DP: John Alcott By Kubrick's philosophy, this is wrong. But really it's so right. From "Pride & Prejudice" (2005) https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1419282752595-7HKTZUJ0OC1DNE5NY101/image-asset.jpeg Posts - Barry Lyndon (1975) - DP: John Alcott These guys know where to put the camera. That is a fact. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1419283085265-VRLMT0RIGLAN7NPCZVVM/image-asset.jpeg Posts - Barry Lyndon (1975) - DP: John Alcott That's a lot of effort for some average looking lighting. https://www.sheldonwalker.com/posts/2014/12/13/gone-with-the-wind-1939-dp-ernest-haller monthly 0.5 2015-01-16 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1418517504505-1WUR7SW9YMTARQVQA9G2/image-asset.jpeg Posts - Gone with the Wind (1939) - DP: Ernest Haller Surely you didn't think it would be a small camera that holds all of this, right? https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1418517565988-W8SJQ9X7KOCFXSMJRZQK/Gone+with+the+wind+2.jpg Posts - Gone with the Wind (1939) - DP: Ernest Haller Showing hard light who's boss. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1418517648359-LBZCK9683B6U86CAT8R2/Gone+with+the+wind+1.jpg Posts - Gone with the Wind (1939) - DP: Ernest Haller This is essentially the movie in one shot. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1418517600056-36NHE6SA4TWWLSCC9TP3/image-asset.jpeg Posts - Gone with the Wind (1939) - DP: Ernest Haller Do you think he knew he was making immortal imagery at the time? https://www.sheldonwalker.com/posts/2014/12/6/bird-man-2014-dp-emmanuel-lubezki monthly 0.5 2015-01-04 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1417904853293-RAUTIQ9GWTR840PQN6ZC/image-asset.jpeg Posts - Birdman or (The Unexpected Virtue of Ignorance) (2014) - DP: Emmanuel Lubezki When you realize that the camera is all over the place and you end up with amateur level compositions. #longtakeproblems https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1417904880820-W7V2DBLQ91GMJYOYX50W/image-asset.jpeg Posts - Birdman or (The Unexpected Virtue of Ignorance) (2014) - DP: Emmanuel Lubezki The lighting is bland, but at least the whole film looks like one shot. https://www.sheldonwalker.com/posts/2014/10/25/gone-girl-2014-dp-jeff-cronenweth monthly 0.5 2014-12-22 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1414255718253-UE06XWFS0DHCL4HLXRHI/image.jpg Posts - Gone Girl (2014) - DP: Jeff Cronenweth Soft and stark. Here we go!!! https://www.sheldonwalker.com/posts/2014/10/10/django-unchained-2012-dp-robert-richardson monthly 0.5 2014-12-14 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1412964987751-SD5ZS3YMB6B6DCE92R2F/Django+Unchained+1.jpg Posts - Django Unchained (2012): DP - Robert Richardson Either Richardson is a genius or he still hasn't figured out how to use his light meter. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1412965128648-GDPM7GIX7MBR8JQOI5DE/Django+Unchained+3.jpg Posts - Django Unchained (2012): DP - Robert Richardson The sheer audacity to have such intense moonlight is enough to scare away lesser DP's. https://www.sheldonwalker.com/posts/2014/9/25/the-hobbit-an-unexpected-journey-2012-dp-andrew-lesnie monthly 0.5 2014-12-06 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1411680831197-FDIYA0JCLQDN7ERZO8IZ/image.jpg Posts - The Hobbit: An Unexpected Journey (2012) - DP: Andrew Lesnie By the time we get to the climax, the lighting has become much more cinematic. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1411875994942-9LZP0XI5RLCZKEV49GLQ/image.jpg Posts - The Hobbit: An Unexpected Journey (2012) - DP: Andrew Lesnie The Shire is flat and unimposing. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1411875919315-FR5VVWEOQDMZP8Y0F8SQ/image.jpg Posts - The Hobbit: An Unexpected Journey (2012) - DP: Andrew Lesnie Lesnie captures the beauty of Erebor. https://www.sheldonwalker.com/posts/2014/9/17/true-detective-ep-1-2014-dp-adam-arkapaw monthly 0.5 2014-10-25 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1410990122925-GG62IWIEM3TEE5N040WL/image-asset.png Posts - True Detective Ep. 1 (2014) - DP: Adam Arkapaw Arkapaw expertly conveys the characters with his unusual framing. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1410990255108-8JA29UNQI1V3I9GLZF27/Hart+shot.png Posts - True Detective Ep. 1 (2014) - DP: Adam Arkapaw https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1410990199933-9WFR55FU0PUMM73I4R3E/Cohle+shot.png Posts - True Detective Ep. 1 (2014) - DP: Adam Arkapaw Arkapaw takes any opportunity to convey the characters. https://www.sheldonwalker.com/posts/2014/9/8/if-i-stay-2014-dp-john-de-borman monthly 0.5 2014-10-10 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1410197180185-3TW3N2YCHP6KFJHQXXMZ/image-asset.jpeg Posts - If I Stay (2014) - DP: John de Borman Chaotic steadicam shot after the car crash. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1410198120703-IPBXM1IDO86JMTJDUC7Q/If+I+Stay+3.jpg Posts - If I Stay (2014) - DP: John de Borman de Borman's "Punk" look. https://www.sheldonwalker.com/posts/2014/9/2/blade-runner-1982-dp-jordan-cronenweth monthly 0.5 2014-09-25 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1409716708459-JD402JHN3PLJGF9L5KSR/image-asset.jpeg Posts - Blade Runner (1982) - DP: Jordan Cronenweth The replicants have a very distinct warm eye light. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1409716873896-XIT6XYIV94N7IYNPZX09/image-asset.jpeg Posts - Blade Runner (1982) - DP: Jordan Cronenweth Bold color choice and heavy smoke. https://www.sheldonwalker.com/posts/2014/8/24/fruitvale-station-2013-dp-rachel-morrison monthly 0.5 2014-09-17 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1408919714817-C1WW5PAMKN5I6CQO91QX/image-asset.png Posts - Fruitvale Station (2013) - DP: Rachel Morrison The opening brings us immediately into the aesthetic of 16mm film. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1408919645992-OPYKIV5RUSZ4ND4ZWZ1J/image-asset.jpeg Posts - Fruitvale Station (2013) - DP: Rachel Morrison Available light dominates this scene in a grocery store. https://www.sheldonwalker.com/posts/2014/8/16/guardians-of-the-galaxy-dp-ben-davis monthly 0.5 2014-09-08 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1408231339448-ZYBHRBWNTJ3N3LDTM5AY/lens+flare.png Posts - Guardians of the Galaxy (2014) - DP: Ben Davis Horizontal blue anamorphic style flares abound in GotG. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1408231206708-ZHG9VYK2V6X3MDCPCU2J/gravity+lightbox.jpg Posts - Guardians of the Galaxy (2014) - DP: Ben Davis Groundbreaking lighting effects were used in conjunction with animation in "Gravity." https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1408230950005-2NSPYNR5IPOZY5LRAKCZ/Outdoor+Amazing+Spider-man+2+set.png Posts - Guardians of the Galaxy (2014) - DP: Ben Davis Amazing Spider-Man 2's outdoor Times Square set. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1408231270960-8EFHYVXKV5BHD0XTUX0B/image-asset.jpeg Posts - Guardians of the Galaxy (2014) - DP: Ben Davis "Oh...Yeah...." https://www.sheldonwalker.com/posts/2014/8/2/jersey-boys-2014-dp-tom-stern monthly 0.5 2014-09-03 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1407429029753-V8NNR7BGLWBGBDP6F1P0/image-asset.jpeg Posts - Jersey Boys (2014) - DP: Tom Stern One of the more finessed instances of hard light. But still strangely desaturated. https://www.sheldonwalker.com/posts/2014/7/27/sunrise-a-song-of-two-humans-1927-dp-charles-rosher-and-karl-struss monthly 0.5 2014-08-24 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1406670076676-KIFRM1Y700HMCOW7Y9OP/image-asset.jpeg Posts - Sunrise: A Song of Two Humans (1927) - DP: Charles Rosher and Karl Struss The Woman from the City in a ghost-like daydream. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1406670199813-O5FQXHI49VEZHPXGTR5E/image-asset.jpeg Posts - Sunrise: A Song of Two Humans (1927) - DP: Charles Rosher and Karl Struss Ominous moonlight is a repeating motif. https://www.sheldonwalker.com/posts/2014/7/25/world-war-z-2013-dp-ben-seresin monthly 0.5 2014-08-16 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1406271283241-P6MEAJC03FOXZ04N1W22/A+flare+illuminates+the+dark+hallway Posts - World War Z (2013) - DP: Ben Seresin A flare illuminates the dark hallway. https://www.sheldonwalker.com/posts/2014/7/24/the-shawshank-redemption-dp-roger-deakins monthly 0.5 2014-08-07 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1406221171927-36NC5MGLYSSH6RCOOGCI/Brooks%27s+death. Posts - The Shawshank Redemption (1994) - DP: Roger Deakins Brooks's character wrapped up with one strong composition. https://www.sheldonwalker.com/posts/2014/7/24/snowpiercer-2013-dp-kyung-pyo-hong monthly 0.5 2014-07-25 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1406262468217-ATGJA9W3VVVBMHWR5OI2/image-asset.jpeg Posts - Snowpiercer (2013) - DP: Kyung-pyo Hong Torches illuminate the fight scene through a train car. https://www.sheldonwalker.com/posts/tag/large+format monthly 0.5 https://www.sheldonwalker.com/posts/tag/Camera monthly 0.5 https://www.sheldonwalker.com/posts/tag/filmmaking monthly 0.5 https://www.sheldonwalker.com/posts/tag/digital+video monthly 0.5 https://www.sheldonwalker.com/posts/tag/cinematography monthly 0.5 https://www.sheldonwalker.com/getaway daily 0.75 2021-05-12 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1584289447457-PQVVKEOBC9T01N3YF11N/image-asset.jpeg Getaway - Getaway Teaser Trailer https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1584289447457-PQVVKEOBC9T01N3YF11N/image-asset.jpeg Getaway - Getaway Teaser Trailer https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1505180035098-XGNF90PKMGLM4U2YAHNR/Getaway+Stills+_1.3.2.jpg Getaway https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1505180035564-6BVUV1C6YMPZKGP0OG0H/Getaway+Stills_1.10.2.jpg Getaway https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1505180043557-MBATYYHQQM7QPU9ZYUO1/Getaway+Stills_1.11.2.jpg Getaway https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1505180047207-2WGKEQHRW7HAOW11MFP3/Getaway+Stills_1.19.1.jpg Getaway https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1505180053689-ZYCPJMLC68905XEB2GQU/Getaway+Stills_1.22.1.jpg Getaway https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1505180058031-KTWP264TB3LIDXSJ5BXN/Getaway+Stills_1.30.1.jpg Getaway https://www.sheldonwalker.com/i-am-enough daily 0.75 2021-05-12 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1620822580384-2EQY7R0K075WKRFJCARE/image-asset.jpeg I Am Enough - I Am Enough - LGBTQ Ballet Film ft. Georgina Pazcoguin and Skye Mattox https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1620822580384-2EQY7R0K075WKRFJCARE/image-asset.jpeg I Am Enough - I Am Enough - LGBTQ Ballet Film ft. Georgina Pazcoguin and Skye Mattox https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1566869533617-03EE7XL2ND9FEOJ4LN4K/IAH+Screenies+Cropped.jpg I Am Enough https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1566869565730-CBDLCIIANJEBX98NALSJ/IAH+Screenies+Cropped-8.jpg I Am Enough https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1566869570597-YZ2LZ1GV6QW6C6AD6QZL/IAH+Screenies+Cropped-3.jpg I Am Enough https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1566869592423-M3LEZZMGJFDCA1ZJ69TI/IAH+Screenies+Cropped-4.jpg I Am Enough https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1566869608027-GC0RT87QE0TJ1RW79U31/IAH+Screenies+Cropped-5.jpg I Am Enough https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1566869597679-AQINP998MDDHEYBAM9F9/IAH+Screenies+Cropped-7.jpg I Am Enough https://www.sheldonwalker.com/about daily 0.75 2022-01-29 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/fab01a54-9a5d-49e7-8126-63c22ed5432f/Sheldon+Headshot About He’s not always this moody. https://www.sheldonwalker.com/contact daily 0.75 2014-12-14 https://www.sheldonwalker.com/the-lux-lens daily 0.75 2015-01-06 https://www.sheldonwalker.com/lux-and-lens daily 0.75 2022-01-29 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1558433117025-WRS1ZWNXF35L1HUE0YSQ/Alexa+Formats.jpg The Lux & Lens https://www.sheldonwalker.com/buffalo-soldier daily 0.75 2021-05-11 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1595224137550-A2IV6YPJ3HGW26CZPE6D/04_Distant+Relatives.jpg Photography - DISTANT RELATIVES Featured Image During World War One, troops from all over the globe endured the notorious hardships of trench life. On the western front, many Black American soldiers had their first exposure to African men who shared a physical resemblance, but under the surface brought with them markedly different cultures and languages. Both these Americans and French Colonial troops from the likes of Senegal and Algeria—often clad in the famous French blue uniforms of the Great War—made their own reputations as formidable fighting forces. Their experiences together marked a crucial moment in reconnecting these separate strands of the African Diaspora. Prints Available Here https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1595224145045-735CZSL3N09MP86TO2ES/05_Distant+Relatives_Img2.jpg Photography - DISTANT RELATIVES Supporting Image Prints Available Here https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1595224182364-WL2I9C49D647OQK8HU20/01_Homefront.jpg Photography - HOMEFRONT Featured Image As post-war America entered the Civil Rights Movement, Black veterans were caught in a transitional moment. They served honorably as soldiers overseas, but Black troops came to symbolize a progressive change that white America was not ready for. Rather than granting them respect, the uniforms of battle-tested African-Americans attracted lynch mobs and racial violence. Prints Available Here https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1595224193766-2ZMXHLTZ3JRRCIL6PZQ1/02_Homefront_Img2.jpg Photography - HOMEFRONT Supporting Image Prints Available Here https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1595225087447-ZQ2TW9P2J8I3B49MA831/Homefront+%233+%28For+Web%29.jpg Photography - HOMEFRONT Supporting Image Prints Available Here https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1595226791371-4669E0M2M1IMUZ7VQIZT/Homefront+%234+%28For+Web%29.jpg Photography - HOMEFRONT Supporting Image Prints Available Here https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1595224207078-0BCWFL47P9O5QDTCHIRG/06_Presidential+Suite.jpg Photography - PRESIDENTIAL SUITE Featured Image Under an administration that prioritizes the wealthy over the everyday American, Army Sergeant La David Johnson gave his life in the service of his country. In a botched effort to console Johnson’s grieving widow, President Trump struggled to remember the name of the deceased. By the end of their brief phone call, he insulted both Mrs. Johnson and the memory of her husband. Prints Available Here https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1595225089828-SO8D4Z6MF563K71YV8ZH/Presidential+Suite+%232+%28For+Web%29.jpg Photography - PRESIDENTIAL SUITE Supporting Image Prints Available Here https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1595224214783-M416517UCRC3G4JTQWW6/07_Presidential+Suite_Img2.jpg Photography - PRESIDENTIAL SUITE Supporting Image Prints Available Here https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1595225109675-A8GPOKSBRTN3WNQVQV6W/Presidential+Suite+%234+%28For+Web%29.jpg Photography - PRESIDENTIAL SUITE Supporting Image Prints Available Here https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1595226803085-0PJW2GDKSNTJXXBQ4L6B/Presidential+Suite+%235+%28For+Web%29.jpg Photography - PRESIDENTIAL SUITE Supporting Image Prints Available Here https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1595224234697-5STG5MKWAZAMUTJ41C7P/09_Sacred+Land.jpg Photography - SACRED LAND Featured Image During the American Civil War about 10% of the Union Army was comprised of Colored Troops, who fought in segregated units against Southern Confederates. The poor whites who comprised the bulk of Southern manpower relied on slavery to keep them one rung from the bottom of the social ladder. Today the Confederate cause lives on in the Americans who continue to fly the Rebel flag. Prints Available Here https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1595225104050-8F88QKMW5SILEW7V7AIV/Sacred+Land+%232+%28For+Web%29.jpg Photography - SACRED LAND Supporting Image Prints Available Here https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1570374831104-BW723ZUYHMEP0RLIHB4C/BS+Exhibition+Photos-11.jpg Photography https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1570374822578-XUM9SAQSYG16VAOFZBUI/BS+Exhibition+Photos-1.jpg Photography https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1570374814911-OZJ5Z5WSJ1AG881UFTJX/BS+Exhibition+Photos-3.jpg Photography https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1570374818745-35MM8KM4UQKRVG3YQSDN/BS+Exhibition+Photos-4.jpg Photography https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1570374811882-Y7D74GSDS6B5HE7MZ4MP/BS+Exhibition+Photos-2.jpg Photography https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1570374866856-102ZULD3H19CDGMHFIG3/BS+Exhibition+Photos-7.jpg Photography https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1570374880578-9HNH8RWAEHQ1C762Q0YS/BS+Exhibition+Photos-8.jpg Photography https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1570375117578-5QO6M7AKN4D2WEALOHPB/BS+Exhibition+Photos-12.jpg Photography https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1565567951837-FDC0R3RGTTWUD1VC1UP3/BS_Title.png Photography https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1565569602026-IJ9MYLKX0WP8TQH3IYCN/IMG_0343.jpg Photography Behind the scenes capture on set of “Distant Relatives”. PC: Tyrus Frost (@tyrusfrost) https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1620762465684-4L79F0BXOAU0T306TOPA/QCA%2Bsquare%2B%28B%26W%29.png Photography https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1620762547935-ZE1NS437HXVO9FC3Z8ZC/IPA+Award+copy.png Photography https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1620762556622-2S2S4XF5WD82ZFIX3MRT/5th_fapa_nominee.png Photography https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1565568216164-7WBAZXCZPC3L7MN50PNK/image-asset.jpeg Photography https://www.sheldonwalker.com/upcoming-installments daily 0.75 2019-09-02 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1566852274548-73W3U9WYH74NVB1TUKDM/Justice+in+the+Army.jpg Upcoming Installments https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1566852259464-JX5QXOHZQLOG7V6M2939/The+American+West.jpg Upcoming Installments https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1566852224622-FDDOFJZDQO9PPISZGX7K/Fight+for+Freedom.jpg Upcoming Installments https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1566852150694-IV8NTNF6OWG7NGZIG7SA/Rebellion+at+Sea.jpg Upcoming Installments https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1566852304859-564DP2LCTCEB6Z7TWQOD/Vietnam+%26+the+Black+Panthers.jpg Upcoming Installments https://www.sheldonwalker.com/works daily 0.75 2021-05-12 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1620823596301-B6LUSONIMTXXHCJAL2AY/image-asset-4.jpeg Works - Unwritten https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1620823597158-VS42ZYAKCJX40KMM9VER/image-asset-1.jpeg Works https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1620823598155-3HQB37ZFYCKQ8BU2OAR0/image-asset-10.jpeg Works https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1620823598659-YTFXG7UO7E1OCFLO8T7M/Color%2BGrade%2BSamples_1.1.1.jpg Works https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1620823598783-LNLSX8DT9ORVBEQ1RGF0/image-asset-6.jpeg Works https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1620823595751-XQYIFCIG6PW9MOK5YGGU/image-asset-3.jpeg Works https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1620823598168-SD0GLBF4AFJDSRBIUUIF/Sc%2B01_00000.jpg Works https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1620823596424-P5CLNC85JTVN12J3WI74/image-asset-9.jpeg Works https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1620823597352-8YMS693WYETNKAZY4G3G/image-asset-2.jpeg Works https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1620823595581-QPPMPDPBAIV8HQG18DU9/image-asset-8.jpeg Works https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1620823596741-QNYZTGZAQDNRSRK6J57J/The%2BTransgressor%2BStills_2.36.1.jpg Works https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1620823597622-5LCETY259UUHO8W5CKDH/image-asset-5.jpeg Works https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1620823599137-NBHPJ9ZG2JWL3TEVKXJ2/IWYB%2BScreenshots_1.5.1.jpg Works https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1620823599715-A3EDC6RAJ54YRZSFPVA8/image-asset.png Works https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1620823599783-QYV0CDQ01VHH3KPC0IJU/image-asset-7.jpeg Works https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1620821095062-QE5AFAAD983BRMGDYODA/Screen+Shot+2021-05-09+at+11.46.45+PM.png Works https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1620821191608-CIHW88AXABJVTUL0HDN8/Screen+Shot+2021-05-12+at+3.02.14+PM.png Works https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1620821119900-I2FA8RT0PHLEYVFRQO5A/Getaway%2BDailies%2BScreenshots_1.31.1.jpg Works https://www.sheldonwalker.com/unwritten daily 0.75 2021-05-13 https://www.sheldonwalker.com/the-cataclysm daily 0.75 2021-05-13 https://www.sheldonwalker.com/i-want-you-baby daily 0.75 2021-05-13 https://www.sheldonwalker.com/the-intervention daily 0.75 2021-05-13 https://www.sheldonwalker.com/darkness daily 0.75 2021-05-13 https://www.sheldonwalker.com/the-transgressor daily 0.75 2021-05-13 https://www.sheldonwalker.com/standing-up daily 0.75 2021-05-13 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1458925050396-C24R9WIHLP9FK2LGLVVW/Standing+Up+Screenshot+01_1.20.1.jpg "Standing Up" https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1458925037317-QLA6MCUSZFS5XA8VJDPD/Standing+Up+Screenshot+01_1.51.1.jpg "Standing Up" https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1458925077733-D0SA82K9A8UOMQ5AR1UO/Standing+Up+Screenshot+01_1.58.1.jpg "Standing Up" https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1458925010241-ZBNF6QVATPCR5BEIPMT9/Standing+Up+Screenshot+01_1.89.1.jpg "Standing Up" https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1458925529828-CQ49GDTX2PMI5XFKCH7B/Standing+Up+Screenshot+01_1.83.1.jpg "Standing Up" https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1458925054515-CNCCYSX6U3U6N7DEJFTF/Standing+Up+Screenshot+01_1.17.1.jpg "Standing Up" https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1458925515321-LEJ1ILHA8SPSWFOBH3VI/Standing+Up+Screenshot+01_1.42.1.jpg "Standing Up" https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1458925095111-CQN681T7GVHL041UHH4X/Standing+Up+Screenshot+01_1.124.1.jpg "Standing Up" https://www.sheldonwalker.com/bellflower daily 0.75 2021-05-13 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1420062505278-BLKA6IZ33H3KU6P9T1MP/Bellflower+1.jpg "Bellflower" https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1420062505328-NMI86TSYOZ1JNQEIRY3J/Bellflower+2.jpg "Bellflower" https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1420062507832-RIOIOHO40UQ5US9FSUY4/Bellflower+3.jpg "Bellflower" https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1420062506828-NB2JY290K0NJ9LLOQWLP/Bellflower+4.jpg "Bellflower" https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1420062507889-PP9U4LNP33TLS1QCFMTE/Bellflower+5.jpg "Bellflower" https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1420062509315-3UN6PI25QK3AHU5MHR7W/Bellflower+6.jpg "Bellflower" https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1420062511903-6XBKKFIJGG5BX9IUQBEN/Bellflower+7.jpg "Bellflower" https://www.sheldonwalker.com/lombardi daily 0.75 2021-05-13 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1419907089281-L3A8VV9UEQW327WJ81A0/Lombardi+1.png "Lombardi" This is a movie about a bong. You've got to have an opening bong intro shot! Here you see the tail end of a long dolly in on "Lombardi" the highly revered blue bong among this film's group of friends. I placed it conspicuously amidst all the less colorful glass pieces to make it stand out, since this is its time to shine. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1419907114413-M50B7Q6RBI7BGTATT8ZV/Lombardi+3.png "Lombardi" Most of the film is an extended night scene when the three main characters go out to smoke in their car. Since the scene takes a lot of twists and turns we ended up shooting practically 360 degrees around the vehicle. This is just one of the shots of the kids getting into their smoke session before things go wrong. I knew that the scene should feel really dark because there's a sense of paranoia that overcomes them before the cops show up. They have a feeling that at any moment they could be caught, and there's something pretty foreboding about the preponderance of blackness in the frame. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1419907228053-W1WQRZQVFRSBO6VDD0I4/Lombardi+4.png "Lombardi" We spent a while in pre-production deciding how we would cover the extensive dialogue that happens in the car. The final product was really an amalgam of techniques including handheld, singles, two shots, French overs, and pans. Here we catch a moment when two of the boys have an exchange as they pass the bong from one to the other. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1419907244808-L4ZE4NV9RTPQ3CHO0N2L/Lombardi+8.png "Lombardi" I think the choice of aspect ratio is one of the best ways to bring meaning out of the photography. For me it's never an arbitrary choice. We did 2.35:1 (widescreen) here because we knew that we would have lots of shots of three or more people in the frame spread across the x-axis. Shots like this were really helped by the aspect ratio, otherwise we would have had a lot more room above the actors. The other great thing about this shot is that it shows how much we were able to get out of our mixed lighting sources. We have the strong orange-ish streetlight coming from frame left with the red and blue police lights coming from frame right. Then inside the car we have the more forgivingly cool blue LED lights coming off the dashboard. The sources are all placed so that they each cover a specific area and aren't competing or blending into each other. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1419907268417-E6SZ601IBWHMLXZJ0XPA/Lombardi+10.png "Lombardi" We used a four point star filter for the entire night scene because we knew we would have a ton of hard point sources of light from the headlights, police lights and flashlights. I wanted to make all of those sources feel more present and imposing as the cops come in and ruin their good time. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1419907284856-850Q9GBPYD9VODD6P5SI/Lombardi+11.png "Lombardi" It was pretty funny that with all the coverage we got, there were hardly any shots of the three boys together, partially because one of them had to leave the car. When all was said and done there was somewhat a sense of relief to put them all back in the car together in one frame. Even if nothing else they still have each other. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1419907306068-DN6NJ4LJKUXCFU7791ML/Lombardi+12.png "Lombardi" Since this film is a comedy, after the extended night scene we needed something to lighten the mood. Here the shift to something photographically lighter matches the change in the content. https://www.sheldonwalker.com/velours-rouge daily 0.75 2021-05-13 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1422564117396-8WAJA88Z31JMXRMDY7PO/Screen+Shot+2015-01-29+at+3.02.04+PM.jpg "Velours Rouge" The film opened up with two of the main characters in a café. It's one of the few scenes we would shoot at night, so I thought it would be a good opportunity to get some deeper contrast than what we would see in many of the later scenes. We had limited time at this location and had to stay as unobtrusive as possible, so we only brought two lights for this and set up a classic cross-key lighting scenario that worked perfectly for this type of scene, since it's just two actors seated at a table. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1422564117246-V9Z9QPJ5DA4NL3PGWQXP/Screen+Shot+2015-01-29+at+2.41.48+PM.jpg "Velours Rouge" Due to some unpredicted scheduling constraints we ended up shooting bits and pieces of this scene at three different times during the shoot. There were a few things that I always kept consistent to ensure that everything cuts together seamlessly: I kept coming back to the 80A Filter (a deep blue camera filter that's usually used to balance tungsten illumination for daylight film), in this case I kept the camera balanced to tungsten and let the blue effect wash over the image. Then I always made sure to accent the background with a bit of green. I find that it doesn't come off as overbearing or even obvious, but it still breaks up the image and gives some dimensionality. And last, I always kept the exposure exactly the same: ISO, aperture, and shutter. In fact, with the exception of a couple shots, the entire film is photographed at an f/2.8 just for consistency. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1422564117247-LMZ4UPVXY5LNZECLQGVX/Screen+Shot+2015-01-29+at+2.35.41+PM.jpg "Velours Rouge" This was a fun scene because we got to introduce the eccentric French woman character (Christelle) who would come into our main character's (Luke) home and throw him for a spin. We wanted to set up the scene as if anything could be on the other side of the door when Luke goes to open it, so I was really interested in this idea of lighting her almost as if she was some sort of villain by keeping her very contrasty and imposing. I chose the wide angle lens here because this is the moment when Luke slams the door in her face, the first time she tries to come inside. I thought it was only fitting that the camera should also be right in her face; and I think audiences can feel the difference. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1422564117345-SGE743S1SZOJ4D7R1QMN/Screen+Shot+2015-01-29+at+2.57.02+PM.jpg "Velours Rouge" It doesn't take much experience in making films to realize how absolutely critical the inserts are. Christelle has aspirations of owning her own bar someday, so she gets straight to work practicing mixing her own cocktails once she moves in. We spent a while filming the many drinks she cooks up, especially the eponymous "Velours Rouge" cocktail. We always lit the drinks specifically to get the right backlights and reflections in the glassware for these inserts. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1422564117320-VN3PHXO1B9CPW2X2W4GJ/Screen+Shot+2015-01-29+at+2.52.28+PM.jpg "Velours Rouge" This is the scene when Luke finally tries Christelle's Velours Rouge cocktail and we start to see the connection between them forming. The great challenge of photographing this film was that the vast majority of the script takes place in this room of the apartment, and the director wanted to shoot 360 degrees around the space. It became unthinkable to try to photograph the whole film with light stands all over the place, constantly being moved around. Instead I had to devise a lighting plan that used no stands at all, but was still capable of effectively lighting the entire set, and allowed flexibility for tweaks from scene to scene. To that end, we ended up rigging an array of tungsten balanced china balls to the ceiling, as well as a number of Kino Flo fluorescent, open face, and fresnel lights along the walls above the set. This gave the director flexibility to block the scenes wherever she wanted and we never had to move lights. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1422564117441-0NBDAWBO7EBUZK7A8CGM/Screen+Shot+2015-01-29+at+3.03.26+PM.jpg "Velours Rouge" This is the scene when Luke discovers that Christelle is actually an escort and finds himself trying to rescue her from one of her clients before he realizes that Christelle doesn't need any rescuing. We did this all in one shot and it really helps to heighten the reality of this scene and accentuate the voyeuristic nature of it. In this scene Luke sees her with her client and assumes the worse. Likewise as audience members we have to watch Christelle's interaction with a strange man and make our own conclusions about it. But of course In Luke's case he was able to interject and pull her away from him. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1422564117513-INQPA9YSJO9FQG6RY06W/Screen+Shot+2015-01-29+at+3.16.46+PM.jpg "Velours Rouge" This was the only scene we shot in the bedroom, so we had the luxury of being able to use more color to bring out Christelle's character. I also warmed up the lighting just a little because from the beginning we always wanted to paint Christelle as a person who brings color and livelihood into Luke's life. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1422564117301-X6KIPCKI2VMC9TOIKQ1I/Screen+Shot+2015-01-29+at+2.44.14+PM.jpg "Velours Rouge" Using our single lighting rig in this room, we were able to get many different kinds of looks out of the light. For the actress playing Christelle I wanted to keep finding new ways to light her, while still keeping the lighting beautiful and flattering. In this scene we used a little bit of frontal hard light, mixed with much softer fill sources to get the classic Hollywood butterfly shadow just under her nose. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1422564117409-CORRP6101H72OOMH6D5P/Screen+Shot+2015-01-29+at+3.00.26+PM.jpg "Velours Rouge" In this scene is a perfect example of how the lighting setup gave us extra flexibility. We needed to be able to get wide shots like this one, and some much wider, that didn't allow for much space for placing light stands. Also after shooting this wide, the director decided that we needed to get another shot looking in the exact opposite direction. Normally there would be piles of lighting equipment in the frame, but in our case we were able to quickly and easily get the next shot. https://www.sheldonwalker.com/two-sisters daily 0.75 2021-05-13 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1420062365308-4Z09Q78QS7FF5D9XUA45/Two+Sisters+2.jpg "Two Sisters" Working with mirrors is often a challenge because you're constantly working to keep the camera and lighting equipment out of the reflections. In this case we ended up finding a way around all the headaches by making the mirror work for us rather than against us. It became an interesting way of being able to see more of our main character's face. We were always looking for the most powerful angle to place the camera while also maintaining strong compositions. We liked shooting down the length of the room because there wasn't much space to look across at a 90 degree angle to this frame. This way afforded us better positions to frame the scene and incorporate the production design more aesthetically without resorting to extreme wide angle lenses. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1420062364257-HC2LEFGHEPAVMCR1384U/Two+Sisers+3.jpg "Two Sisters" This frame was part of a long dolly shot that followed Anna (in the gray shirt) out the door, down the stairs to the mailbox and back toward the steps where she met with Betty (in the purple hat) and they took a look across the street at their neighbor's yard. On this film I worked with a director who would always make an effort to limit a scene to as few shots as possible. For something like this in which the actors cover so much ground, it became necessary for us to also choreograph some interesting camera moves to complement the blocking. We go from leading her, to trailing throughout her trip to the mailbox and we use the camera movement to reveal information when she sees a "For Sale" sign across the street; this ends up leading to the significance of the moment depicted. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1420062366275-B1OZQSZNTNWY1GRKIURZ/Two+Sisters+4.jpg "Two Sisters" We didn't want to be constantly moving the camera just because we wanted to have as few shots as possible. In this situation, we placed the camera outside the kitchen window and let the whole scene play out, then we blocked the actors so that we could still see their faces when we needed to. The lighting for the entire film was intended to be naturalistic since the film feels like the kind of situation that anyone could find themselves in with a close relative. I tried to watch how the light naturally played in the room and then mimicked and intensified it to be strong enough to reach exposure on film. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1420062366153-C78T0FULRF6CRFXFVO30/Two+Sisters+5.jpg "Two Sisters" One of the great advantages of shooting in the middle of November was that we got to make use of the beautiful fall colors. We also had the softness and organic grain of 16mm film to help us achieve this look. We decided to go with a film workflow in order to get those imperfections rather than the pristine look of digital camera systems. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1420062367183-LDFF3NRY7GGAR0BY94TZ/Two+Sisters+7.jpg "Two Sisters" It was important for us to always find a camera angle that would evoke the character's mind state at all times. We felt that looking down at Anna in this lonely moment toward the end of the film helped to show how little relief she got from battling her sister over their mother's house. Getting the railing in front of her gave us some distance to disengage a little from their heated argument and look more at what, if anything, they really accomplished. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1420062367571-9HS52ZR6PNA8QVSEPH0W/Two+Sisters+8.jpg "Two Sisters" This is the closing frame of the film and really encapsulates the heart of the movie. We end with the two sisters still pitted head to head, with all their mother's belongings packed away in a truck as they're getting ready to leave it all behind. Of course we staged the scene with the house in the background because it symbolizes their entire troubled history together. Having it weighing down on them in the final moments of the film seemed highly appropriate. https://www.sheldonwalker.com/dominik-the-daring-and-bronco-the-brave daily 0.75 2021-05-14 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1419914529660-SQ0NTNCQHYWBNMZWH77F/DDBB+2.jpg "Dominik The Daring and Bronco the Brave" Dominik the Daring was a fun shoot because I really got to push the limits of how much contrast and darkness I could pull off in a shot. This shot is a daytime scene, but it still comes off as very stark. It's the moment that the family comes to grips with the fact that their dog, Bronco, is sick. We wanted to convey that something was wrong. Of course it gives us something of Bronco's perspective as they all look down on him, but it also helps in emphasizing that something is off, the angle feels unusual as is Bronco's condition. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1419914529808-JI5DZPRAW4UQ73Z4I5ZZ/DDBB+6.jpg "Dominik The Daring and Bronco the Brave" One of the great lessons from working on such a visual film was that there is a lot to be said by the things and not just the people. The shot of the syringe seemed like a simple insert, but it became much more in what it symbolized: The dad contemplating whether or not to put down his dog. Framing this shot with his face in the background helped us to convey that meaning. After rolling on this for a while, the actor had a chance to improvise and we captured some magic on screen. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1419914529871-OJJMW30KJTJTS2ETJ6AZ/DDBB+8.jpg "Dominik The Daring and Bronco the Brave" One of our big influences was from "Batman: The Animated Series." I really loved how they used shafts of light pouring in through windows or doorways and tried to use some lessons learned from those images. Given how I have to photograph real people and not cartoons, I softened up the light a bit, but still allowed the light to come in almost expressionistically across the frame in both the foreground and the background with strong shafts defined by the doorways that cut into the beam. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1419914529674-CU6O2SG03Q9J0TWPSP3A/DDBB+1+.jpg "Dominik The Daring and Bronco the Brave" This is one of my favorite shots partly because it's so simple. Dominik, our main character, wants something, she can see it, and she's going to take it. The simple action of having her lying on the floor to get at her boots starts to say something about her earnestness and resilience that we'll see later in the film. We started the film with her room being completely warmly lit at night, giving it a sense of family and welcomeness. Later on, we change that dynamic by slowly bringing in more and more cool tones. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1419914529834-9HN4CHDXLUBPHB9RA4IE/DDBB+7.jpg "Dominik The Daring and Bronco the Brave" On her way out the door Dominik runs past this guy. I guess I just like this shot. I don't know what to say. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1419914822283-H5WKM50LRX3ZVDMJOGPO/DDBB+9.jpg "Dominik The Daring and Bronco the Brave" The director of this film has somewhat of an infatuation with New York City's Financial District. Both films I've shot for him feature its architecture pretty prominently. For this shot toward the end of Dominik's journey, I composed it with the city lights coming at the camera to enhance the bokeh and provide a backdrop to frame the actors against. This shot is one of a few that we photographed at 12 frames per second with a standard 180 degree shutter to get a blurred, stuttered motion effect similar to a Wong Kar-Wai Film. We felt that it gave certain scenes a heightened sense of tension and fit within the world we were building for Dominik to take on her superpowers. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1419914529717-PLHFZ00R70PT7GU4UVIM/DDBB+4.jpg "Dominik The Daring and Bronco the Brave" I don't think I've ever photographed anything this dark before, especially not the emotional climax of a film, but I felt it was necessary because this does have to pay off everything I had been building up to with the lighting. There were many contrasty scenes earlier, but this had to top all of those. Also, as I said previously, my goal was to slowly drain the warmth out of Dominik's room throughout the film (I skipped over the screenshots of all the intermediate steps, woops!) until we get to the point when it becomes hard for her to really take any solace in the comfort of home. That's when we see her room completely cold and bathed in darkness. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1419914529749-JF29DQHHVYHYSUK3D6JH/DDBB+3.jpg "Dominik The Daring and Bronco the Brave" We ended the film with this fun after credits sequence, which works as just one last hurrah for the amazing set decoration and costume design on this film. We also pulled out our horizontal streak filter, which we often used to invoke the supernatural motifs of the film. Also I got a chance to go full Batman and hit the actors with hard light for the very end. https://www.sheldonwalker.com/tilly daily 0.75 2021-05-14 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1419906529956-ZZOWSSUCC2QY8H2RPKDW/Tilly+2.png "Tilly" "Tilly" actually has two Directors of Photography because the director wanted two distinct aesthetics to contrast how Tilly feels in various scenes. I mostly handled the moments that leaned more toward the experimental, typically with Tilly alone and left to contemplate the death of her boyfriend and how to move forward. We shot this dream sequence where Tilly sees her boyfriend in a wooded area after getting lost in thought for quite a while. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1419906550809-LV5FGOM04WEKODFUVIZZ/Tilly+4.png "Tilly" Part of the experimental nature of the film was that the director didn't want to enforce too many of the typical filmmaking conventions with regard to covering a scene. We always sought atypical shot choices like watching Tilly from behind. We also made the choice to shoot the film with uncoated lenses to create more flaring and give the image a hazier look. We completely embraced the flares in hopes that the whole film almost feels like Tilly's bad dream. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1419906576547-X1TMHRWK1QTJWJ9KT10D/Tilly+5.png "Tilly" This shot was one of those impromptu moments on set when someone has an idea that immediately equates to a striking image. The shooting environment on this film was really supportive of that kind of thinking and we always tried to stay as flexible as possible for being able to pop off a shot that sparks in someone's head. In this case all of our lighting is outside the window, so the director has freedom to move the actors wherever she wants. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1419906593935-FNPUQWZPTGX0676ZG5TT/Tilly+7.png "Tilly" Tilly is a bit precocious for a young girl so we had to get her outside at night. We tried different ways of working in her environment. In this shot we used the foreground to try to say a little bit about her. The foreground elements help to emphasize how aimless she is after her boyfriend's passing. Even though she walks around the city at night, she doesn't really have anywhere to go. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1419906778726-IN7YIJ6KQPGFU18F0M62/Tilly+6.png "Tilly" This was the only scene in the film that I shot wherein people actually talk! Here Tilly's mother paints her nails while sharing a story of when she was Tilly's age. I chose to light them with a soft, saturated magenta light to make the scene and the space seem more angelic. There's an innocence to the moment when her mom talks about being a teenager that begged for something special. Not to mention that I am the experimental end of the DP duo. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1419906809209-GXE9RBB19WMG20WJN51X/Tilly+1.png "Tilly" After Tilly's mom leaves the room, she turns off the lights and just the moonlight comes through. It shows Tilly coming back into the real world after checking out for a moment to reminisce with her mom. The dreamcatcher prop was featured earlier on in the film and the hard light through the window helped to emphasize it one last time. https://www.sheldonwalker.com/the-newmans daily 0.75 2021-05-14 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1433969729626-XLC0JUUTX3O96Z58LWJJ/Screen+Shot+2015-06-10+at+4.42.10+PM.png "The Newmans" https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1433970293083-39JHDPKWKEU1F9ZSFEGB/Screen+Shot+2015-06-10+at+4.50.18+PM.png "The Newmans" https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1433969729958-N8DQZFU4V2SFA3X57S0R/Screen+Shot+2015-06-10+at+4.43.43+PM.png "The Newmans" https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1433969729510-174KRIE7PFD67ADHDV1K/Screen+Shot+2015-06-10+at+4.40.36+PM.png "The Newmans" https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1433969731170-B2F5EBLTQJC6GIYMIQK9/Screen+Shot+2015-06-10+at+4.48.51+PM.png "The Newmans" https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1433969730385-FPPSIGXISET7X2ZY8AL5/Screen+Shot+2015-06-10+at+4.45.50+PM.png "The Newmans" https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1433969730054-PKDD3SSDC242XEUYKW0Z/Screen+Shot+2015-06-10+at+4.45.27+PM.png "The Newmans" https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1433969730789-VORUWRJYZEYSUTVH7NQJ/Screen+Shot+2015-06-10+at+4.47.03+PM.png "The Newmans" https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1433969730951-ZGBZFDBX8YX4RUT57D1B/Screen+Shot+2015-06-10+at+4.47.55+PM.png "The Newmans" https://www.sheldonwalker.com/the-last-dream daily 0.75 2021-05-14 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1419910316553-KDF33WSHYIEPWFG6FAXE/The+Last+Dream+5.jpg "The Last Dream" It was important for us to start this film off with a sense of normalcy. Everything here looks exactly as you would expect it to look in your average therapist's office. It's a very simply covered scene with unimposing lighting. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1419910316495-X6W9LQ3CSDX5FXYY88AO/The+Last+Dream+3.jpg "The Last Dream" We get more of the same here as we move into the protagonist's house. Before anything gets too intense with her dreams, the lighting is low in contrast and wraps significantly around her face, leaving few shadowed areas. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1419910316519-0ASWTTDW5IQKBJTW6WWP/The+Last+Dream+4.jpg "The Last Dream" This is a dream sequence (actually everything with that guy is a dream sequence) that started to delve deeper into the character. I knew it would help to sell the "dream look" if the lighting appeared to come from absolutely nowhere logical, so I gave the actors these harsh rim lights and then let the rest of their faces go more toward the shadows. The simple fallacy of the lighting was the key for distinguishing reality vs. dream rather than employing any heavy-handed effects in post or using any camera trickery. On this film I worked with a director who always knew what kind of coverage he wanted, and it never involved doing any gimmicks or surreal movements, but rather letting the camera objectively cover the scene while the performances took us out of reality. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1419910316444-YPF2AM4QNX3AFJ0T8SJO/The+Last+Dream+2.jpg "The Last Dream" This scene was shot in a small kitchen, which presents a challenge when working with soft light. We had to do a fair bit of work to keep the light controlled and get the contrast on the actor's face. Once again I had it come from an illogical source. This time it was super warm, at eye level on the side of the room rather than some overhead fluorescent like every other kitchen in the world. I also added an extra rim light to the foreground character, which does give a little bit more separation but also adds to the lighting motifs already established. https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1419910316443-0XRXDZWYRT6ZWKDM7L10/The+Last+Dream+1.jpg "The Last Dream" In this climax scene I went with really hard sources because it's only logical that the climax of the film should coincide with the climax of the lighting arc. This is the only time that we light the actors' faces with hard fresnel units and it helps to pay off all the story beats leading up to this point. https://www.sheldonwalker.com/prints daily 0.75 2019-09-02 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1567884312324-527DOLRCGFHX8GVN7918/02_Distant+Relatives_CU.jpg Prints https://www.sheldonwalker.com/prints/homefront-4 monthly 0.5 2020-12-22 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1564787309832-1X34JCSVNGSY6LG4UMZE/Film+Print+05.jpg Prints - Homefront - #4 https://www.sheldonwalker.com/prints/homefront-3 monthly 0.5 2020-12-22 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1564787279766-FHGCOMVPFXX323C4XY2Y/Film+Print+06.jpg Prints - Homefront - #3 https://www.sheldonwalker.com/prints/presidential-suite-5 monthly 0.5 2020-12-22 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1564787197787-HH9KLA1QC0G9JAA8K3UO/Film+Print+02.jpg Prints - Presidential Suite - #5 https://www.sheldonwalker.com/prints/presidential-suite-4 monthly 0.5 2020-12-22 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1564787141196-ANTKYBYR6XPZPK12U0CR/Film+Print+01.jpg Prints - Presidential Suite - #4 https://www.sheldonwalker.com/prints/presidential-suite-3 monthly 0.5 2020-12-22 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1564787036170-UPZN72XOKIEURMB0E9N8/Film+Print+04.jpg Prints - Presidential Suite - #3 https://www.sheldonwalker.com/prints/presidential-suite-pt-2 monthly 0.5 2020-12-22 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1564786889691-BEVIYW9U8YO5BE64JX3J/Film+Print+03.jpg Prints - Presidential Suite - #2 https://www.sheldonwalker.com/prints/sacred-land-pt-2 monthly 0.5 2020-12-22 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1564786460255-JODNC1ZCWJUQRMMBG1JQ/Film+Print+07.jpg Prints - Sacred Land - #2 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1568216183004-ZLP5SK90XTW7TXYFKY35/BS+Framed+Images-2.jpg Prints - Sacred Land - #2 https://www.sheldonwalker.com/prints/homefront-overhead monthly 0.5 2020-12-22 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1564786113165-0P6D7M6CCRS22NK1LRFO/Homefront_Overhead_Noritsu_Graded_Lr_Low+Res.jpg Prints - Homefront - #2 https://www.sheldonwalker.com/prints/the-gas-mask monthly 0.5 2020-12-22 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1564785492080-KH87OS098IHB40STBWBL/Distant+Relatives_CU_Drum+Scan_Graded_Lr_Low+Res_001.jpg Prints - Distant Relatives - #2 https://www.sheldonwalker.com/prints/distant-relatives monthly 0.5 2020-12-22 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1564784466713-OYCP7W3U1PCDH0LLVP3P/Distant+Relatives_WS_Drum+Scan_Edit_Graded_Lr_Low+Res_001.jpg Prints - Distant Relatives https://www.sheldonwalker.com/prints/homefront monthly 0.5 2020-12-22 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1558464425128-6KAW079BDTKY2Y86BLY0/1_Homefront.jpg Prints - Homefront https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1568215085745-6LR6UJ8TYEZS9I3ESABB/BS+Framed+Images-1.jpg Prints - Homefront https://www.sheldonwalker.com/prints/presidential-suite monthly 0.5 2020-12-22 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1558444179943-N3FO7AS5MZ3WBJS2R67H/4_Presidential+Suite.jpg Prints - Presidential Suite https://www.sheldonwalker.com/prints/sacred-land monthly 0.5 2020-12-22 https://images.squarespace-cdn.com/content/v1/53bc843ae4b065e0b42a692e/1558442871316-2P9CGQ778W5SVWQWCK4M/3_Sacred+Land.jpg Prints - Sacred Land