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Film: What Does a Director of Photography Do?
Published by
Julie de Sortiraparis · Updated on November 9, 2026 at 03:15 p.m.
On a film, the director of photography shapes the image in collaboration with the director, from camera tests through to color grading. Two industry professionals shed light on the choices of lighting, camera and framing that shape what viewers see on screen.
Choosing how to light a face, which lenses to use or how to follow a character in motion is part of the work of the cinematographer. This work is planned in collaboration with the director and involves several members of the crew. Interviews with Pierre Mazoyer and David Chambille, published by the French Association of Cinematographers (AFC), also show that the way the work is organized varies from one project to another.
On La Gradiva, director Marine Atlan, who is also a cinematographer, worked on the film’s visuals with Pierre Mazoyer. In their interview published by the AFC in May 2026, they describe preparations involving discussions about the shot breakdown, images and references. So even before filming begins, the aim is to determine how to view the characters and locations, and to anticipate the re
Equipment tests serve this search. For Until the Birds Return, by Karim Moussaoui, David Chambille says he paired a compact camera with lightweight lenses and a stabilizer to follow the characters’ movements. In this 2017 interview with the AFC, he links these choices to a specific intention: to stay close to the actors while giving the setting behind them a presence. Here, the choice of equipment serves a directorial vision.
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Lighting also calls for concrete decisions. Chambille says that scenes around a pomegranate orchard had to retain bright sunshine, even though they were shot over several days. The crew was able to adjust the schedule according to the weather to maintain continuity. On La Gradiva, Atlan and Mazoyer describe a different approach: observing the lighting in a courtyard filmed during a school trip, then recreating and shaping it for a party scene.
Directing the cinematography doesn’t necessarily mean operating the camera on every take. On La Gradiva, Atlan and Mazoyer’s division of framing and lighting evolved over the course of the shoot. When the director was framing a shot, Mazoyer could watch the images on the monitor and discuss them with her. At other times, Mazoyer operated the camera while Atlan focused on the performers. They also cite the work of chief electrician Manon Corone and key grip Marie-Anouke Cougnon-Vilain. The division of roles took shape over the course of their collaboration.
Work on the look can finally continue after filming wraps. Mazoyer says he prepared the images each evening during the shoot, then worked on the final grade with Gadiel Bendelac. Chambille, meanwhile, describes a look developed during tests with his colorist, Serge Antony, and then used as a foundation throughout the film. To understand this further step, our explainer on color grading explains how continuity, lighting and the tones of each shot are worked on.
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Tags:cinema, shooting, light, shoots, film set, film shoot, Film industry professions, [cin] Decryption guide
