Interview: Cinematic Photographer Dean Pearson

With his enigmatic use of light to create mood, the work of Dean Pearson is certainly intriguing. Having transferred his skills from stills to motion with his award-winning short film The Clearing, he has also recently wrapped on his latest film Tellurian. The Clearing (2016) won the Gold Remi Award at WorldFest Houston and was nominated for Best Thriller at Top Shorts Film Festival. 

This week, we speak to Dean about his stills, the meaning of cinematic photography and the importance of kit. Let’s hear from Dean.

MPB: In your photography, have you always been drawn toward the dark?

DP: Not always. For years, I felt lost with my photography. I had explored different styles and aesthetics, but I was never truly happy with what I was creating. I have always loved movies and it's only when I made the connection between the two that things started to change for me. It’s like somebody turned the bulb off in my head and I was able to see light and life in a new way. Embracing the darkness, and exposing pockets of light, allows me to create a feeling of mood and melancholy in my images.

MPB: What does ‘cinematic’ mean for you? 

DP: I think when an image is described as ‘cinematic’, it refers to an image that hints at a deeper story within the frame. The controlled use of light, colour and composition add depth and mood to this story. It helps engage the viewer in a specific way.

MPB: When did you get into cinematography?

DP: Films have been a big part of my life, ever since I was young. When I discovered cinematography, I was still early on in my photography journey and so it felt like quite a natural transition for me into that world. I learned so much about visual storytelling and all the elements that go into it, and it completely transformed my approach to my photography. I recently wrapped up my first sci-fi feature film Tellurian, which is planned for release in 2021. That has been an amazing journey, albeit a tough one, with plenty of highs and lows—but I have learned so much and met so many kind and amazing people.

MPB: Can you tell us about your kit? 

DP: I currently shoot with the Nikon Z6. If I am shooting a low-light scene, I will typically overexpose the scene slightly from where I think the correct exposure should be—being careful not to clip the highlights—this allows me to retain the detail in the shadows without them getting too muddy. I always shoot in RAW so I know that in the post I can bring that detail back to where I want it to be, and from there I will start to shape the image. My favourite lens is my Mamiya Sekkor c 55mm, I love how organic it feels.

MPB: Can you tell us more about your series Transmission?

DP: When I first started the project, it wasn't immediately clear what the story was behind it. The idea just came to me, I knew I had to make it. It was only when I sat down to edit the images that the meaning behind the project began to surface. At the risk of sounding pretentious, it’s about feeling lost and alone wherever you are in your life. With so much noise or ‘static’ all around us, it’s easy to forget the beauty that surrounds us in our everyday lives. But it could just as easily be about somebody searching for their lost remote control. That’s what I love about this medium—everybody has their own interpretations.

MPB: How do you find the right light?

DP: My favourite time of year to shoot is autumn and winter, I love the way the light feels at that time of year. It also gets darker earlier, so there are more opportunities for me to go out. I prefer to shoot when there is a bit of texture and atmosphere in the air—rain and snow—but my absolute favourite time is when there's fog. The fog completely transforms a scene, giving the images a painterly quality. I can drive around for hours on the back roads getting lost in the fog.

MPB: What kit is always with you, no matter what?

DP: Besides my camera, it’s a set of headphones or a speaker. When I shoot, I’m heavily influenced by music and soundtracks. The Interstellar soundtrack, by Hans Zimmer, is usually on repeat. But it could be anything from alternative rock to synthwave, it just depends on the scene and the moment. Very recently I’ve started shooting medium format film, so my Mamiya RB67 ProS is always with me.

MPB: What are your plans for the future?

DP: I will definitely continue my Transmission series, as I have so many other ideas/locations I would love to shoot. Publishing a book is something that has been on my mind for quite some time. I have a concept, and I have started to piece together a rough draft, but it's still in the very early stages.

Read more interviews on our MPB content hub.