Cinematography in Progress: Announcements
This journal builds a bridge between academic theoretical research and the artistic practice of cinematography. The concept of developing cinemathography as research strand from the perspective of artistic achievement within the field of the humanities is highly innovative and cutting edge. We have now an opportunity to acknowledge the cultural and artistic contribution of this profession to cinema and mine the cinematographer's knowledge.
Conference : Cinematography of Today Conference & BIP Street Photography Program & Welcoming Guide
Join us in Lisbon for an intensive international programme exploring the creative dialogue between still photography and cinematography. Bringing together students and lecturers from Portugal, Germany, Belgium, and Spain, the Blended Intensive Programme (BIP) Still Photography for Cinematography Students offers a unique opportunity to develop visual storytelling skills through photography while engaging with a vibrant network of emerging filmmakers and image-makers. The programme combines a series of online sessions with a one-week immersive experience in Lisbon. Participants will study the work of influential street photographers such as Henri Cartier-Bresson, Vivian Maier, Saul Leiter, Garry Winogrand, Martin Parr, and Alex Webb, examining how photographic observation, composition, light, and visual rhythm can inspire cinematographic practice. During the intensive week, students will work in international teams while developing their own individual photographic projects inspired by Lisbon’s architecture, urban spaces, and multicultural social life. Over two days of shooting, participants will document the city through their personal artistic vision before moving into the laboratory phase, where participants are introduced to historical photographic alternative processes, including cyanotypes and anthotypes, allowing students to explore the origins of photography while experimenting with environmentally conscious and plant-based image-making practices. Through these workshops, participants gain a deeper understanding of photography as both a technical medium and a tactile, material art form. The programme also includes masterclasses, workshops, and guest lectures by internationally recognised photographers, cinematographers, and researchers. Students will have the opportunity to participate in The Cinematography of Today Conference, engaging with contemporary discussions on cinematography, visual culture, analogue practices, sustainability, virtual production, artificial intelligence, and practice-based research. The week concludes with a public exhibition of student work, transforming the city’s observations and encounters into a collective visual dialogue. This exhibition serves as both a celebration of the participants’ creative achievements and a platform for intercultural exchange through photography. By combining theory, practice, experimentation, and exhibition, the BIP aims to strengthen students’ visual literacy, expand their creative approaches to image-making, and encourage new ways of thinking about the relationship between photography and cinema. Together, we invite participants to explore photography as a creative tool for observation, artistic expression, and cultural dialogue, while discovering how still images can shape the language of cinema. → View the full programme → Welcome Guide
Joint Program: BIP Erasmus Program Still Photography for Cinematography Students & The Cinematography of Today Conference
CINEMATOGRAPHY OF TODAY Still Photography for Cinematography Students BIP Erasmus Program 22 - 26 of June 2026 Objectives Students are required to produce a series of photographs or a video essay set in the city of Lisbon. The work must be individual, and both the photographs and video should reflect the student’s unique perspective and aesthetic interpretation of the city’s architecture and urban life. All images must be original and captured over a minimum of two consecutive days. After shooting, the material will be processed in the laboratory, where students will apply special artistic techniques. On the final day, all completed works will be displayed in a gallery The program The BIP engages students from multiple higher education institutions, with Lusófona University – Lisbon, Portugal serving as the coordinating host, and HdM Stuttgart – Germany, INSAS Brussels – Belgium and UMH Elche – Spain as partner institutions. The program is structured as a combination of virtual and in-person components. A minimum of three virtual sessions will be conducted to introduce the program’s methodological framework, outline procedural requirements, and examine the relationship between still photography and moving images. These sessions include the critical analysis of selected films whose cinematographic approaches are directly informed by photographic practices, as well as the study of significant street photographers—such as Henri Cartier-Bresson, Garry Winogrand, Vivian Maier, Saul Leiter and Alex Webb—whose work serves as conceptual and aesthetic inspiration for subsequent practical exercises. The in-person component, conducted over one week in Lisbon, allows students to apply the concepts explored virtually through structured exercises. In the concluding phase, students will undertake laboratory-based post-production processes, employing advanced artistic and experimental techniques to refine their photographic outputs. The program culminates in a public exhibition of the students’ final works, which serves both as an evaluative platform and as a means of disseminating the outcomes of the program. By integrating theoretical instruction, practical application, and artistic presentation, the BIP fosters an interdisciplinary and cross-cultural learning environment that enhances students’ professional and creative competencies. “This initiative aims to reinforce cultural exchange by employing photography as a medium for observation, representation, and dialogue within the multicultural urban landscape of Lisbon. By engaging with the city’s diverse social and cultural environments, participants use photographic practice to explore, document, and critically reflect upon the multiplicity of identities and experiences that coexist in Lisbon.” Evaluation criteria and methods This module offers an in-depth investigation into the language of photography, examining both its technical foundations and its capacity to construct meaning through visual representation. Students will engage critically with the aesthetic principles that govern photographic practice, including composition, perspective, light and shadow, colour dynamics, texture, and spatial organisation—while also analysing the expressive and narrative potentials inherent to the photographic image. The central focus of the module is the conceptual and practical dialogue between still and moving images. Through theoretical study and applied exercises, students will explore how photographic techniques and visual strategies can be reinterpreted within the temporal, sequential, and rhythmic structures of cinema. Attention will be given to the ways in which photographic thinking informs cinematographic decision-making, including approaches to framing, visual storytelling, camera movement, and the articulation of atmosphere and tone. By understanding the continuities and divergences between these two mediums, students will be equipped to translate the precision, intentionality, and aesthetic sensibility of photographic practice into the domain of moving-image production. The aim is to cultivate a refined visual literacy that strengthens both the artistic and analytical capacities of emerging image-makers. Street photography: training to adapt a style of photography as inspiration for the development of a visual style for cinematography. Each university picks a master street photographer and learns to follow the typical style or language Students are divided into groups of 3 shooting (2 days: Monday 22.6. + Tuesday, 23.6.) in Lisbon in mixed groups of students (locals & incomings) Wednesday 24.6 to Friday 26.6 Printing and Conference exhibition (Friday 26th of June) Virtual meetings: SCHEDULE: LESSON 1 - THURSDAY, May 21st Moderator Tony Costa Presence All teachers - Introduction, concept, participants, organization introduction BIP introduction conference Groups of work created Food restrictions - form Departure and arrival time LESSON 2 - Wednesday, June 3rd Moderator teacher part 1: Stefan Grandinetti (60 m) - Street photography as inspiration for cinematography: Ed Lachman on CAROL + Rodrigo Prieto on 21 GRAMM Task1: Each University finds one or two local street photographers to present on the first day in Lisbon with a PPT presentation ideally done by only one student of the Institution. 10 to 15 m presentation allowed. Task2: Who is shooting analogue/digital or color and black & White? 35mm or medium format? Moderator teacher part 2: Jack Shelbourn (30m) Sustainability in the context of working with natural and available light for street photographers and cinematographers. LESSON 3 - Thursday, June 11th Moderator: Marie Sordat - Presentation of famous street photographers as masters. Street photography is more than capturing people in public spaces; it is about observing life as it unfolds naturally. Through spontaneous moments, light, movement, and emotion, street photographers reveal the poetry hidden in everyday scenes. This conference, through history and analysis of great photographers, invites us to explore how this medium can document society, tell human stories, and transform ordinary moments into powerful visual narratives. Task 1: Students show their researched work about local street photographers. Task 2: What equipment do students need? LESSON 4 - Friday, June 12th Moderator: Tony Costa and Emilia Lloret Intro to Alternative photographic processes Considerations of the BIP organization BIP IN LISB0N (From Sunday 21st to friday 26th) Day 0 - Sunday - 21st of June Studio F 18:00 - Welcome reception. Tony Costa and Emilia Lloret Introducing teachers Introducing student groups. Presentation of BIP and Conference Program Visiting the premises - Paula Lourenço Check Equipment Students' Presentation: National Street Photographer (15 Min. each: Portugal, Spain, Belgium, and Germany) Drinks and hot dogs. Day 1 - Monday - 22nd of June 09h30 - Studio F Marie Sordat - Final words about street photography techniques to be applied by students 10h30 - Students depart for the town freely to photograph. Day 2 - Tuesday - 23rd of June Second day of shooting 17h00 - End of day delivery of analogue rolls for development. Diogo Bento Day 3 - Wednesday - 24th of June 09h00 - Conference Day 1 - Room Fernando Lopes Master Class for BIP students with Magnum Photographer Yael Martinez 10h30 - 13h30 - Master Class for BIP students (Studio F) with Yael Martinez 14h00 - 15h00 - Photo Lab - Delivery of rolls to develop. Printing Prep 15h00 - 18h30 - Alternative Photography - Emilia Lloret 19h00 - Any need in Photo Lab Paula Lourenço 20:00 - IMAGO CONFERENCE NETWORKING DINNER (Jardim Mário Soares - Campo Grande) Day 4 - Thursday - 25th of June 09h00 - Conference Day 2 09h30 - 16h00 - Photo Lab - FORCE Paula Lourenço e Diogo Bento Printing and preparation of the exhibition 16h00 - 19h00 - VR WORKSHOP (Room Z03) With Francisco Julián Martínez Cano and Miguel Hernández. 17h30 - 18:15 - Case Study: (Studio F) Influence of local frame rate differences on the perceived salience and presence of a foreground object Ferdinand Kubiak (Stuttgart Media University, Germany) 18:30 - 20:30 - Guest speaker - (Cinema Fernando Lopes) David Mullen ASC - Still Photographer and Cinematographer. Day 5 - Friday - 26th of June 09h00 - Last Day conference 09h00 - 18h00 - Printing and preparation of Exhibition 14:00 - 15:00 Moderator: Manca Perko (cinema Fernando Lopes) Case Study: “Burnout” – Unreal Engine as a storyboard and tech-viz tool Luca Saalfrank (Stuttgart Media University, Germany) Practice-Based Research Presentation from Lusofona University - Exercise 1 A Psychological Study of the Media Research Lab on the impact of a digital set in a mockumentary – Jule Pussinen (Stuttgart Media University, Germany) Practice-Based Research Presentation from Lusofona University - Exercise 2 17:15 - 18:15 - Student report on BIP participation, projection of pictures, street photography Moderator: Tony Costa 19:00 - Opening BIP PHOTO EXHIBITION Emilia Lloret STUDIO F 19:30 - 22:00 - Closing Conference Barbecue and drinks outside. ARRAIAL - PORTUGUESE POPULAR SUMMER FEST. Sardines, roasted meat, salads, beer…. Saturday 27th - DEPARTURE The Cinematography of Today Conference Lisbon, Portugal | 24–26 June 2026 Universidade Lusófona Each communication max 15 min presentation + 15 min Q&A at the end of each session Students' communications 10 min DAY 1 Wednesday 24 June 2026 09:00 – 09:30 Coffee, Tea, and snacks Opening & Welcome (Room Fernando Lopes) Organisation: Tony Costa and Emilia Lloret Program of the day 09:30 – 10:00 Invited artist - Photographer (Cinema Fernando Lopes) Yael Martinez. Magnum Photos Creative Documentary Photography (BIP) - Continue until 13:00 with BIP students Workshop Studio F) 10:00 - 11:00 Session 1 (Cinema Fernando Lopes) Cinematography as Art and Practice I Moderator: Manca Perko Cinematography and Editing Create an Eye Scan in The Violent Men Analysis of the 1955 Western shows how precise “eye-trace” editing and actor positioning solved audience-focus problems on early CinemaScope screens. Marshall Deutelbaum (Purdue University, USA) Spatial Cinematography: Immanent Space and the Emergence of Narrative in Experimental Fiction. Cinematography is repositioned as a generative force: space, movement, and material qualities actively create narrative rather than merely illustrate a pre-written script. Pavel Prokopic (University of Salford, UK) Depth of Field: As used in Mother of George (2013) to create an identity for the ‘Other’ Shallow focus is reframed as an expressive narrative tool that conveys subjectivity, intimacy, and displacement. Yao Joseph Edem Homadji Ladzekpo (University of Media Arts and Communication, Ghana 11:00 – 11:30 Networking - Coffee break 11:30 – 12:45 Session 2 (Cinema Fernando Lopes) History, Archives, and Research Moderator: Jayne Sayer Cinematographic archives: reading beyond the film Raw, unedited archives hold richer educational and historical value than the finished film; the presentation calls for systematic preservation of these materials. Mehluli Masuku (Sorbonne University Abu Dhabi) Exploring what constitutes documenting and archiving: The perspective of directors of cinematography in Ghana. Using interviews with Accra-based DPs, the study investigates how cinematographers perceive the archiving of both tangible footage and intangible creative processes. Joshua Paa Yaw Otabil (University of Media, Arts and Communication, Ghana) Beyond the shot: Analogue workflows and collaborative creativity How analogue and digital workflows shape collaboration and creativity in contemporary cinematography. It synthesizes research and creative practice to show how analogue processes function as systems that structure creativity. Focusing on features such as material constraint, interdependence, shared artefacts, and timed decision-making, it examines their impact on collaboration and reasoning, and how these dynamics evolve within digital production contexts. Manca Perko, University of Bristol, UK Cinematography in Process: The Role of the Image in a Film in Permanent Reconfiguration A reflection on the role of cinematography in a feature-length film project developed over several years through successive versions of the same film. António Costa Valente - CIAC, Universidade do Algarve (Portugal) 13:00 – 14:00 Lunch 14.00 - 14:30 - Invited Speaker: Ines Gil, Lusofona University This talk presents the history and origins of the Pontes Collection, now housed at Universidade Lusófona’s Cinema das Pontes. It covers the collection’s content, its future prospects, and its active role in education. Students of Film Heritage gain hands-on experience with the materiality of cinema through direct work with original prints and archival materials. The presentation also explains key concepts: what film preservation and restoration truly mean, and the importance of programming in bringing archival films to new audiences. Moderator Tony Costa 14:30 – 16:00 Session 3 (Cinema Fernando Lopes) Cinematography as Art & Practice II Moderator: Stefan Grandinetti Illustrative Cinematography in Poor Things (2023) The film translates late-20th/early-21st-century fantasy and gothic illustration aesthetics (non-naturalistic colour, distorted space, grotesque bodies) into live-action cinematography. Zeynep Kocer (İstanbul Kültür University, Turkey) Dashboard Cinematography as a Space of Witnessing in Jafar Panahi’s Taxi (2015) Fixed dashboard camera creates an unmediated reality and participatory observation, turning the taxi into a microcosm of Iranian society. Mustafa Orhan Göztepe (İstanbul Kültür University, Turkey) Beyond the Lens: Reconsidering the Cinematographer’s Role Through the Jarmusch-DiCillo Collaboration Tom DiCillo’s minimalist black-and-white aesthetic profoundly shaped Jim Jarmusch’s authorial voice and later reappeared in DiCillo’s own directorial work. Elpidio del Campo Cañizares and Francisco-Julian Martinez-Cano (Universidad Miguel Hernández, Spain) 16:00 – 16:30 Networking - Coffee break 16:30– 17:45 Session 4 (Cinema Fernando Lopes) Cinematography as Art & Practice III Moderator: Zdravko Ruzhev Visualizing Masculine Power: Cinematography and Gender Hierarchies in Postwar Japanese Cinema Framing, camera movement, and spatial composition in Mizoguchi, Hani, and Imamura films inscribe masculine authority into cultural memory. Prof. Ria Taketomi (Kindai University, Japan) Framing Without Borders: Rethinking Cinematographic Control in 180° Immersive Cinema Jayne Sayer (Salford University,UK) From Camera Operator to Conceptual Architect: AI and the Reconfiguration of Cinematographic Authorship AI expands the cinematographer’s creative control across all stages while raising new questions of authorship and labour. In Sun Jung (Kunsan National University, South Korea) and Professor Hyun-joong LEE (Kunsan National University, South Korea) 17:45 - 19:15 Session 5 – (Cinema Fernando Lopes) Moderator: Marten Jehle Documentary View A film essay for a documentary as cinematography is a key element. Rolf Coulanges Cinematography as Art & Practice IV Meta Data Enables Data Driven Workflows - Updates on Industry Wide Metadata progress including Open Track IO, Open Lens IO, CamDkit, the CLF (the Common LUT Format) and much more - David Stump, ASC, BVK, AIP, ITC Key Speaker “Cinematography as Art” “Cinematic Thinking: A Videographic Approach” Maarten Coëgnarts (LUCA School of Arts / University of Antwerp) 19:15 STUDIO F Homage to late EDUARDO SERRA NAMING THE STUDIO EDUARDO SERRA STUDIO Host by Tony Costa Guests from IMAGO, ASC, AIP Eduardo’s family, Magdeburg Institute 20:00 - IMAGO CONFERENCE DINNER Jardim Mário Soares - Campo Grande DAY 2 Thursday 25 June 2026 09:00 – 09:15 Coffee, Tea and snacks (Cinema Fernando Lopes) 09:15- 09:30 - Round table discussions (parallel): (Cinema Fernando Lopes) Distribution of groups Explanation of the methodology. Participants are divided for two rooms Z02 and Z03 09:30 - 10:30 Round Table 1 (Room Z02) Moderator: Pavel Prokopic Authorship and Ethics in AI-Assisted Cinematography and The Future Syllabus: Reimagining Cinematography Education in the AI/Virtual Era This roundtable debates questions on AI’s impact on cinematography authorship, the posthuman gaze, student assessment, curriculum design, and teaching authentic “seeing”. 09:30- 10:30 - Round table 2 (Room Z03) Moderator: Manca Perko Analog: Heritage Craft or Essential Resistance? This roundtable debates why it is important to keep or not teaching analogue film 10:30 to 11:00 Networking - Coffee break 11:00 to 13:00 - Session 6 – (Cinema Fernando Lopes) Virtual Production & Hybrid Workflows Moderator Katja Schmid The Lies We Tell When the Virtual Meets the Physical Cinematography in Virtual Production Filmmaking Using their LED-volume short film, the DoP/Director team analyses the emerging “LED VP aesthetic,” colour-matching challenges, and the dual traditional/digital skillset required. Dr Levi Dean, Dr Filippo Gilardi & Prof. Helen Kennedy (University of Nottingham Ningbo China) Practical Observations on In-Camera-VFX and Hybrid Workflows in “Tokyo at Night” Work-in-progress insights into real-to-virtual transitions, AI rotoscoping, temporal diffusion models, and screen-compositing alternatives to LED volumes. Malte Schulz (HFF Munich, Germany) Seeing through Touch: The Language of Hands in Luca Guadagnino’s Cinema Pietro Bonfante Bocconi University Italy Embodying War Zone: Following the Ukrainian Actress in Fiction, Documentary and Hybrid Goda Januskeviciute (Lithuanian Academy of Music and Theatre) 13:00 to 14:00 Lunch Round table discussions (parallel) 14:00 to 15:00 - Round Table 3 (Room Z02) Moderator: Stefan Grandinetti Virtual Production: Empowering or Deskilling the DP? Does VP expand or constrain the cinematographer’s creative control? 14:00 to 15:00 Round Table 4 (Room Z03) Moderator: Manca Perko Sustainable eco-conscious practices in the film industry and education Can we teach eco-friendly workflows without sacrificing artistic impact? 15:00 to 16:00 - Session 7 – AI, Colour & New Technologies I (Cinema Fernando Lopes) Moderator: Cristina Angers Digital Urban Archaeology in Video Art: Cinematographic Aesthetics of Oddviz’s Inventory (2018–2025) and Contextures (2017) Photogrammetry turns urban objects into 3D point-cloud archives, shifting cinematography toward data-driven, post-human, gravity-free aesthetics. Prof. Duygu Nazlı Assoy (İstanbul Kültür University, Turkey) When form dissolves: Color as an event in the optical image Colour emerges as a dynamic, embodied perceptual event when form breaks down through glare or motion. Rimvydas Leipus (Lithuanian Academy of Music and Theatre) Montage synergies, image complexes, and the terror of techno-apathy: A case study of Harmony Korine’s Baby Invasion AI and XR push cinema beyond linear narrative into multilayered, sensory image complexes. Isak Okkenhaug (Volda University College, Norway) 16:00 to 16:30 Coffee Break 16:00 to 19:00 - VR WORKSHOP (Room Z03) With Francisco Julián Martínez Cano and Miguel Hernández. BIP Students 16:30 to 17:15 Session 8 (Cinema Fernando Lopes) AI, Colour & New Technologies II (Cinema Fernando Lopes) Moderator: Cristina Angers Defining the “Look” in Contemporary Color Practice The “look” is a collaborative aesthetic contract governing contrast, hierarchy, skin tones, and texture in digital workflows. Katja Schmid (Stuttgart Media University, Germany) The Magic of Cinema Cinema’s unique enchantment lies in captured movement, camera movement, and especially the dynamic, programmable movement of light itself. Zdravko Ruzhev (NATFA, Sofia, Bulgaria ) 17:30 - 18:30 Session 9 (Studio F) Moderator: Dr. Martin Jehle Aesthetics of Higher Frame Rates in Cinematic Motion Pictures as a teaching method Test footage demonstrates how HFR reshapes motion clarity and storytelling possibilities. Stefan Grandinetti (Stuttgart Media University, Germany) Case Study: Influence of local frame rate differences on the perceived salience and presence of a foreground object Ferdinand Kubiak (Stuttgart Media University, Germany) 18:30 - 20:00 - Guest speaker - (Cinema Fernando Lopes) David Mullen ASC Still Photographer and Cinematographer. DAY 3 Friday 26 June 2026 09:00 – 09:30 - Coffee, Tea and snacks 09:30 – 11:00 Session 10 – (Cinema Fernando Lopes) Pedagogical Approaches Moderator: Maarten Coëgnarts Every Second Day Feminist visual strategies for respectful portrayal of violence against women. Katja Schmid (Stuttgart Media University, Germany) Reversing the Process: When Sound Leads the Image in Film Education Students create images from pre-recorded audio to develop non-illustrative, mood-driven visual language. Tonje Louise Finne (Inland Norway University of Applied Sciences) Teaching How to Be a One-Person Documentary Filmer Pedagogical strategies for solo documentary filmmaking, intimacy, access, gear, and addressing ableism. Danielle Beverly (University of Texas at Arlington, USA) Technical skills, imagination, and photographic approaches in the age of artificial intelligence: an educational experience Two-year experiment using cross-cultural audiovisual message exchange to ignite imagination against AI-driven standardisation. Cristina Ángeles Huesca (Universidad Nebrija / Complutense de Madrid, Spain) 11:00 – 11:30 Networking - Coffee break 11:30 – 12:15 Session 11 – (Cinema Fernando Lopes) Student Practice-Based Research I Each Student has 10 minutes of debate, 10 minutes after the third presentation Moderator: Tony Costa The unconscious choice of looking at others: a cinematographer’s conscious documentary practice Alicia Corpas (Aalto University, Finland) The Role of The Camera Operator a case study in operating Steadicam… Patrick Gregg (IADT, Ireland) Framed Feelings: The Interplay of Film Format, Camera Proximity, and Viewpoint Sachin Sarma (Lusófona University, Portugal) 12:15 -13:00 - Session 12 Student Practice-Based Research I Moderator: Katja Schmid Practice-Based Research Presentation from Lusofona University (Exercise 3) Cinematography, Childhood Perspective, and the Ethics of Representation in The Boy in the Striped Pyjamas Cristina-Mirela Manea (University of Bucharest, Romania) 13:00 – 14:00 Lunch 14:00 – 15:00 SESSION 13 Student Practice-Based Research III Moderator: Manca Perko Case Study: “Burnout” – Unreal Engine as a storyboard and tech-viz tool Luca Saalfrank (Stuttgart Media University, Germany) Practice-Based Research Presentation from Lusofona University Exercise 1 A Psychological Study of the Media Research Lab on the impact of a digital set in a mockumentary Jule Pussinen and Teresa Friedel (Stuttgart Media University, Germany) Practice-Based Research Presentation from Lusofona University Exercise 2 15:00 - 16:00 - SESSION 14 Student Research essays Moderator: Cristina Angers (Cinema Fernando Lopes) Invicta Film: An Historical Analysis of the First Portuguese Production Company This paper examines Invicta Film’s collaboration with Pathé in the early 20th century and its role in building the technical and artistic foundations of Portuguese national cinema amid political and economic turmoil. André Sousa - Lusofona University Beyond the other: cinematographic discourse and the perceptual positioning of shaoshu minzu in early socialist Chinese song-and-dance films (1949-1966) How cinematography participated in the construction of Shaoshu Minzu (ethnic minority) identity in eight song-and-dance films produced in mainland China between 1949 and 1966. Yuxin Yan (Free University of Brussels & University of Antwerp, Belgium ) Burnout among film producers. A study of producers’ working conditions in Lithuania National Film School (KIMO) of the Lithuanian Academy of Music and Theatre - Lithuania Valdemar Lovcik 16:00 – 16:30 - Coffee Break 16:30 – 17:30 - Reports from Round Table Discussions Each moderator from each round table discussion presents their conclusions. 17:30 - 18:15 - Student report on BIP participation, projection of pictures, street photography. Moderator: Tony Costa 18:30 - 19:00 - Opening BIP PHOTO EXHIBITION (Studio F) Presentation by Emilia Lloret, Marie Sordat, Christine Couvrer, Paula Lourenço, Diogo Bento 19:30 - 19:45 - Closing Conference Tony Costa 19:45 - 22:00 ARRAIAL PORTUGUESE POPULAR SUMMER FEST. Barbecue with drinks, sardines, roasted meat, salads, beer, etc.
Conference : Call for Submissions (Update)
*]:pointer-events-auto scroll-mt-[calc(var(--header-height)+min(200px,max(70px,20svh)))]" dir="auto" data-turn-id="request-WEB:99b696db-d3ee-499a-a13b-c7eca487cc98-7" data-testid="conversation-turn-16" data-scroll-anchor="true" data-turn="assistant"> We would like to sincerely thank everyone who showed interest in the call for submissions. We are very pleased to have received over 100 submissions, and we are truly inspired by the quality and diversity of the work presented. The selection process is now underway, and the final selection will be announced in the coming weeks. The call is now officially closed. For any inquiries, please contact: emilia.lloret@gmail.com and tonycosta100@gmail.com Thank you once again for your interest and support.
Conference : Registration form for Cinematography of Today Conference (24–26 June 2026 Universidade Lusófona)
A three-day international gathering dedicated to the art, craft, and future of cinematography. Featuring 15 leading professors, cinematographers, and researchers from the UK, Germany, Belgium, Bulgaria, Portugal, and Hollywood. All sessions in the main auditorium (or designated lecture halls) at Universidade Lusófona, Lisbon. Cinematography of Today Conference (June 24–26, 2026) Universidade Lusófona Please complete this registration form to secure your place and to receive all conference-related communications: Registration Form
Call for Papers: The Cinematography of Today Conference Lisbon (June 24–26, 2026) Universidade Lusófona
Cinematography of Today Call for Papers International Conference (June 24–26, 2026) Universidade Lusófona Lisbon, Portugal. About the Conference The Cinematography of Today conference invites scholars, educators, researchers, and practitioners to explore the evolving art, craft, and theory of cinematography. This three-day event seeks to foster dialogue between academic research and professional practice, addressing the aesthetic, technical, educational, and ethical dimensions that shape contemporary image-making. As digital and analog practices, immersive technologies, and artificial intelligence redefine the cinematographic landscape, this conference offers a space for reflection, experimentation, and exchange among cinematographers, educators, students, and researchers from around the world. Topics of Interest We welcome proposals for academic papers, practice-based research presentations, case studies, and roundtable discussions on (but not limited to) the following topics: I. Cinematography as Art and Practice Cinematographer as author: shaping meaning, perception, and audience subjectivity. Gaze, power, and identity in visual storytelling. Embodiment and movement in cinematic space. Collaborative authorship and case studies: director/ cinematographer dynamics. II. Technology, Innovation, and Materiality Evolution of cameras, lenses, and lighting as creative tools. LED studios, virtual production, and immersive environments. AI, CGI, and ethical considerations in posthuman visuality. Color science, psychology, and perceptual impact. Analogue processes and slow cinema aesthetics. Sustainable and eco-conscious production practices. III. Education, Methodology, and Ethics Pedagogical approaches and fostering creativity in cinematography. Student projects, theses, and practice-based research projects. Professional ethics, labor, and working conditions. Inclusion, diversity, and gender in film education and industry. Mentorship and intergenerational knowledge transfer. IV. History, Archives, and Research History of cinematography and the evolving role of the cinematographer. Archives, preservation, and cinematic memory. Scholarship connecting theory and practice. Practice-based, autoethnographic, and collaborative methodologies. Community-based filmmaking and participatory visual practices. Neuroscience and perception in cinematography. Film studies perspectives on cinematic language and spectatorship. Submission Guidelines Abstract length: 300–500 words Submission format: PDF or Word document, including title, author(s), institutional affiliation(s), and email. Language: English (Portuguese or Spanish submissions are also accepted). Optional: Include up to 3 images, or videos if relevant to practice-based research Key Dates Abstract Submission Deadline: March 24, 2026 Notification of Acceptance: April 24, 2026 Registration Deadline: May 24, 2026 Conference Dates: June 24–26, 2026 Final Paper Submission for Conference Book: July 24, 2026 Format Presentations may take the form of: 20-minute paper presentations of Practice-based demonstrations, roundtable or panel discussions. Publication Selected papers and projects will be included in the conference proceedings and a peer-reviewed book of essays, Cinematography of Today, to be published following the event. Submission Fees: Researchers with an accepted paper and presentation: €150. General participants attending all three days: €150. Free attendance for: Members of the CITO Association (enrolled for 2026) Professors participating in the BIP program Students Submission: Submission for papers and registration link For case studies, roundtable discussions, or any questions about the process, please email: emilia.lloret@gmail.com
Upcoming event: New Filmmaking Reference Website – Free 3-Month PRO Access
Dear colleagues, I'm pleased to share that a new reference website for filmmakers, GENERY, has recently been launched. The platform’s founder, Jordan Blake (j.blake@trygenery.online), is offering a complimentary three-month PRO subscription. You can activate this offer using the promo code GENERY3. GENERY features not only a wide selection of still photographs, but also a variety of filmed examples of specific shots, making it a valuable resource for lectures and teaching materials. Best regards, Tony Costa AIP