Last November WIFT-tech organised a popular summit in Stockholm, bringing together over 35 women+ cinematographers, camera assistants and gaffers from across the Nordic region.

Inspired by initiatives such as Illuminatrix and WBTC, WIFT-tech started as a career-enhancer initiative for women+ DPs and camera assistants in 2022, but it quickly developed into a collective with the aim of supporting one another and creating a safe and collaborative environment to share advice and experiences.

The summit was dedicated to celebrating the women+ working behind the camera in the Nordics. Over the course of two and a half days, participants heard from talented cinematographers, both established and emerging, who shared their craft, stories and experiences in a warm and supportive environment built on trust, curiosity and creativity.

The gathering began with welcoming drinks hosted by The Talent Group, giving everyone the chance to meet, reconnect and set the tone for the days ahead.

The following day, hosted at Camera Nordic, was packed with panels, workshops and conversations. The programme opened with the panel “The Cinematographer-Director Relationship: A Creative Collaboration”. It explored the different dynamics that can develop between a director and a director of photography, and how these relationships evolve from project to project.

The panel brought together Swedish cinematographers Sophia Olsson FSF and Ragna Jorming FSF, Cecilie Semec FNF from Norway, and Ula Pontikos BSC from the UK, moderated by director Hillevi Gustafson. It was great to hear the variety of experiences they shared – through anecdotes from past productions and reflections on their working processes, the panel revealed the many ways cinematographers and directors develop a shared vision, often through dialogue, experimentation and mutual respect.

The WIFT-tech Summit has received funding from the Nordic Council of Ministers’ Culture and Art Programme.

Approaching preparation

The second panel focused on “Pre-production: From Script to Shot”. The conversation explored the many ways cinematographers approach preparation, from analysing the script and breaking down scenes to choosing the creative tools that support the process – each step helping translate emotion, rhythm and meaning into the visual language of the film. 

The panel featured cinematographers Simona Susnea, Sophie Winqvist Loggins DFF FSF from Sweden and Denmark, and the remarkable Elen Lotman from Estonia. The discussion was hosted by cinematographer Camilla Topuntoli, based in Sweden. It became a relaxed and engaging exchange of ideas, touching on very different creative processes and experiences across a wide range of productions, small, big and everything in between.

The summit also included a technical workshop where participants had the opportunity to compare the new ARRI Alexa Xtreme and Sony Burano. Cinematographer Claus Rosenløv DFF shared practical insights from his experience using these cameras, offering valuable context for cinematographers navigating the ever-expanding landscape of camera formats and capabilities.

Another highlight of the programme was a conversation between Ula Pontikos BSC and Alejandra FC Zarazúa from WIFT-tech on the topic of “Good Leadership” in cinematography.

The discussion opened the door to subjects that are not always addressed openly within the craft.

They explored the realities of managing crews, navigating difficult negotiations and maintaining clear communication across departments. For many cinematographers, leadership is as essential as lighting and composition: building an atmosphere of good communication, trust and respect across teams and crews can shape the creative process profoundly.

After a full day of discussion and learning, the evening ended with well-deserved drinks and nibbles hosted by the main sponsor Camera Nordic, giving everyone time to continue conversations and strengthen connections.

On the final day, the group visited Storyline’s brand-new virtual production studios in Stockholm. With the guidance and expertise of virtual production supervisor Theis Emma Berthelsen, participants were introduced to the fundamentals of virtual production and the processes behind it.

She explained how virtual production works in practice, the different workflows involved, and how it can help cinematographers expand their storytelling possibilities. The session also touched on the importance of good plates and content production, as well as how different departments collaborate within this new environment.

Value in community

It was a valuable opportunity to ask questions and explore the technology hands-on. For many participants, being able to test and discuss different solutions made the idea of working with virtual production feel far more accessible, and perhaps even something to look forward to on a future project.

More than anything, the summit created a safe space where women+ cinematographers and camera professionals could meet openly, exchange ideas and support each other. Events like this remind us how important community is within our craft.

The WIFT-tech summit in Stockholm was not only a chance to learn and share knowledge, it was also a celebration of the talented women+ shaping the images we see on screen. And if the conversations, curiosity and generosity of the gathering are any indication, this growing network will continue to inspire and strengthen the cinematography community for years to come.

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