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In our bid to make this 40th anniversary issue somewhat of a time capsule, we asked our members to send in photographs—new and old—with the cameras
In 2018, a junior soccer team and their assistant coach went into a nearby cave in Thailand’s Chiang Rai province. It was a week before the cave was
"You never forget your first time seeing a whale," director Joshua Zeman says in The Loneliest Whale: The Search for 52. His was as a kid working on a
Dujuan Hoosan is a precocious 10-year-old from Mparntwe (Alice Springs), Australia, considered a healer by his Arrernte tribe and a delinquent by his colonialist-minded school. For more than two years, Australian documentarian Maya Newell followed Dujuan, capturing both quotidian moments and broader patterns of racism, with special focus on the educational and juvenile detention systems.
The most nerve-wracking sequence in David France’s Welcome to Chechnya is, without doubt, the rescue of Anya.
When shooting vérité, Jesse Moss is typically a one-man-band. But his latest film—codirected with his wife, Amanda McBaine—demanded a full orchestra. Boys State required 28 crew members, to be exact, including an octet of cinematographers.
Cutting Class is a new column that focuses on a specific aspect of the post-production process—breaking down a scene editorially, and delving into
Psychologist Silvan Tomkins wrote about "the tendency of jobs to be adapted to tools, rather than adapting tools to jobs." The job of recording
For all the artistry that goes into making a documentary, successful productions always rest on a sound technical foundation. “We talk so much about
Check out the new report of findings from IDA's 2019 Tools of the Trade: Documentary Equipment Survey, providing a robust narrative about the optimal tools of the trade for making your best work.