AFI and Panavision launched the 2026 Cinematography Intensive, a five-day workshop led by industry veterans including Oscar-winning cinematographer Autumn Durald Arkapaw
The AFI Cinematography Intensive, presented in partnership with Panavision, will convene from March 18-22 at the AFI Campus in Los Angeles. The five-day program brings together a select group of early- and mid-career cinematographers for a concentrated mix of lectures, practical labs and curated screenings. Organizers emphasize that the workshop is intended to dismantle barriers that have historically limited access to the camera department for many creators, offering mentorship, technical exposure and networking during a pivotal moment in participants’ careers.
The class comprises twelve cinematographers: Alice Boucherie, Alexandria Jones, Karson Kane, Amanda Kowalski, Julie Nhem, Emma Penrose, Shauna Presto, Melina Anastasia Psarros, Cat Rider, Tania Romero, Kimani Schumann and Carman Spoto. Their work spans narrative, documentary, experimental and commercial projects and represents a broad geography—from New York and Los Angeles to Nicaragua and Europe. The selection highlights practitioners who combine technical fluency with distinct creative perspectives: some have been recognized at major festivals, others bring commercial experience for luxury and streaming clients, and several have deep roots in community arts or union camera crews.
Several participants bring festival pedigrees and interdisciplinary backgrounds. Alice Boucherie, a French DP based in New York, has credits in documentary and fashion and has screened at Cannes, Tribeca, TIFF and Sundance; she earned a Best Cinematography prize at Cortesina and is an ASC Vision Mentorship recipient. Amanda Kowalski focuses on environmental and rural stories, with festival screenings and regional Emmys to her name and a 2026 feature documentary, The Alliance. Emma Penrose combines narrative and analog film work with teaching in community photo labs, while Karson Kane is moving from gaffer/operator credits—recently seen at Sundance—toward her first feature as a director of photography, emphasizing collaborative set practice.
The rest of the roster reflects equally varied routes into cinematography. Alexandria Jones balances union camera-assistant work in Richmond with teaching and image-making that centers identity and relationships. Julie Nhem, based in the Pacific Northwest, moved from still photography to narrative sets and brings an international perspective as a single parent who has lived abroad. Shauna Presto transitioned from music-business and venue production into visual storytelling, seeking candid human moments. Melina Psarros and Cat Rider fuse dance, fine arts and documentary impulses, while Tania Romero focuses on border and migration themes and Kimani Schumann divides time between Berlin and Los Angeles. Carman Spoto blends academic film theory with hands-on camera department work across features and television.
Instruction will be led by AFI Conservatory faculty and alumni alongside top industry practitioners. The roster includes Stephen Lighthill, ASC, head of cinematography at AFI, and award-winning cinematographer Autumn Durald Arkapaw, whose recent profile and high-profile feature work underscore the growing visibility of women behind the camera. Also participating are visual artist and DP Valentina Martinico and Dan Sasaki, Senior VP of Optical Engineering at Panavision, who will bring technical perspective on lenses and large-format capture. The curriculum mixes demonstrations with hands-on exercises so participants can practice lighting, camera movement and optical choices under expert guidance.
Organizers frame the workshop as a tactic to address long-standing representation gaps within the camera arts. Industry studies have repeatedly shown that women and other underrepresented groups remain a small percentage of cinematographers on major releases; for example, recent reports placed women at roughly 7% of cinematographers on top films. AFI and Panavision say targeted initiatives, mentorship and access to professional-grade equipment help level the playing field by expanding portfolios, building networks and demystifying the technical jargon and workflow of the set—things that can make the difference between assisting and leading as a director of photography.
Beyond the week at AFI, alumni often carry momentum into festival submissions, commercial opportunities and first-time features. Participants arrive with projects at different stages—some prepping narrative features, others expanding documentary careers or experimenting with analog processes—and the program aims to accelerate those trajectories by connecting DPs with peers, instructors and industry partners. With direct access to mentors who have worked on award-winning films and with companies that supply camera crews globally, the cohort leaves equipped to translate the workshop experience into real-world credits and creative risk-taking.
For observers of the craft, the workshop is also a chance to watch how contemporary cinematography evolves: the interplay of large-format techniques, analog experimentation and culturally rooted storytelling. As these twelve filmmakers return to sets and labs around the world, their work will be worth following for fresh approaches to light, movement and image-making.