Canadian Society of Cinematographers

10 stories

Canadian Society of CinematographersCinemaMember Spotlight: Kaayla Whachell Kaayla Whachell and Send the Rain.

10.28

Canadian Society of CinematographersCinemaCongratulations to the 2026 CSC Awards Winners Congratulations to the 2026 CSC Awards Winners.

10.26

Canadian Society of CinematographersCinemaVan Royko csc on the Cinematography of The Ultra Runner Van Royko csc shares the creative and technical process behind the documentary.

09.28

Canadian Society of CinematographersCinemaMember Spotlight: Jeff Maher csc Jeff Maher csc and his work on Death of a Yellow Bird.

09.28

Canadian Society of CinematographersCinemaCSC & Film Training Manitoba Announce Mark Irwin CSC ASC as 2026 Manitoba Film Master Series Instructor Bringing one of Canada’s most accomplished cinematographers to Winnipeg.

09.10

Canadian Society of CinematographersCinemaMember Spotlight: Marc Simpson-Threlford csc Featuring Marc Simpson-Threlford csc and his latest film, Kaïros.

08.27

Canadian Society of CinematographersCinemaCelebrating our members at TIFF 2026 CSC congratulates members whose films were selected for the 2026 Toronto International Film Festival.

08.27

Canadian Society of CinematographersCinemaCFC & CSC Welcome New Cohort for Paul Bronfman Family Foundation Cinematography Intensive With support by the Paul Bronfman Family Foundation, five cinematographers will participate in intensive training this August.

08.17

Canadian Society of CinematographersCinemaA Weekend of Learning, Collaboration, and Cinematography Bringing together cinematographers and industry leaders.

07.30

Canadian Society of CinematographersCinemaMember Spotlight: Jean-Philippe Bernier csc A Q&A with Jean-Philippe Bernier csc about his latest film "Carolina Caroline."

07.29

The small bracket on top of every camera, from a phone rig to an ARRI.

The hot shoe is where the flash goes, and the microphone, and the monitor, and whatever the next decade bolts on. Every camera has one and nobody photographs it. This magazine is named after it because that is where the whole business meets: the body, the glass, the light, the sound, and the person holding it.

I shot news in Gothenburg for nine years and documentary for hire after that, then stopped taking assignments to write about the tools. Since 2021 I live in Tokyo, ten minutes from the used-camera shops of Shinjuku, which is not an accident: Canon, Nikon, Sony, Fujifilm, Panasonic, Ricoh and Sigma make almost everything worth pointing at a subject, and their own press writes about it first, in Japanese. So this magazine reads it there, and in German, French, Italian and Spanish, and in English from the reviewers who actually put a card in the slot — around eighty sources and thirty channels, counted and plotted so you can see what is moving.

Bodies and lenses, cinema cameras and drones, film and the darkroom, firmware and the software that finishes the picture, the rumours before the launch and the reviews after it, and the photographers and shows the rest of it is for. I test what I write about on a job before a word goes down. I shoot film on Sundays and do not think that makes me interesting.

A story here is a headline, a short excerpt, one picture and the link to whoever reported it. We never reprint the article, and the picture belongs to the photographer or the maker. A story written in Japanese appears in Japanese, as its author set it down; the link goes to the original.

— Mara Lindqvist, Tokyo