Special Exhibit At The Studio Museum in Harlem

“In honor of the centennial of the birth of Jacob Lawrence (1917–2000), Their Own Harlems examines the ways in which the urban landscape has influenced Lawrence’s artistic practice, as well as that of other artists.

He thought of Harlem in a broad sense, acknowledging the powerful and positive experiences people of African descent across the country could find in “their own Harlems.”

The exhibit also features the work of over fifteen artists including Dawoud Bey, Jacob Lawrence, Julie Mehretu, Wardell Milan, and Lynette Yiadom-Boakye.”

“Their Own Harlems”  – Until Jan 7, 2018

The Studio Museum in Harlem, 144 West 125th Street, NYC

(Image: Breakfast East Harlem, 2010, Lynette Yiadom-Boakye )

“A Great Day in Harlem”, DVD

That famous 1958 black and white photo of 57 Jazz musicians, arranged on the steps of a building in New York City, was expanded into a documentary in 1995 and can be found on DVD. Director Jean Bach assembled pictures and stories about how it all came together – photographer Art Kane’s assignment for Esquire Magazine, artists such as Count Basie, Dizzy Gillespie, Marian McPartland, Thelonius Monk, Art Blakey, Sonny Rollins, Horace Silver, May Lou Williams, the neighborhood kids that wanted to be in the picture too.


A Great Day In Harlem

See below for a list of all the musicians in the photo:







Cybel The DP: 15 Unconventional Tips to Making a Low Budget Film More Extravagant

BY CYBEL MARTIN for Shadow and Act/Indiwire 
Originally posted – Dec. 6, 2013

“It’s always good to make up for a lack of (financial) means with an increase in imagination.”

— Wim Wenders

Friends who know me, know I really dislike talking about limitations. I prefer to dream big and be optimistic. I’m a “let’s put on a show! ” type optimist.

However, I will need to dip my toe into the murky pool of limitations for a second. Stay with me.

Cybel photoThere are a lot of indie films being made with fascinating stories. Yet too many have mediocre to painful to look at visuals and poor production value. We can adjust our approach to storytelling and raise the bar of expectations regardless of budget.

I’m sure that I speak for many DPs. I’ve no delusions of shooting the next Bond film but hoped for more, given my experience, education & resources, than interviewing to shoot on a 5D in the director’s apartment. I “should” be shooting features with $3-10m budgets but US film production has lost it’s middle class. Or as DP Ryan Walters says in his post “Three Reasons Why It’s Bad Business to be a Cinematographer”, there is an “evaporation of the middle market”.

I love our Indie Film producers, even though they speak with limitations. Many are of the “we don’t have. You can’t have” variety. A film crew’s natural instinct is to problem solve & figure a way to make your film better. However, many producers hear our requests as saying they are incompetent or that crew wants to cheat them out of more money. Make too many suggestions & we can be labelled difficult and replaced. So we keep quiet. And you get what you get.

In 2012, 2% of films were shot by female DPs. When I am offered a gig, the last thing I want to do is lose it to someone who “looks more like a DP” because my inquiries and suggestions deem me “hard to work with”.

In the same way I gave advice that 1st time doc filmmakers are unlikely to hear, here are some creative suggestions I wish low budget directors would entertain and their producers be open to.

If you do nothing else, seriously consider your approach to camera movement and scene coverage.

1 Shoot High End & Rearrange the Budget. I’m prepping a low budget feature to hopefully shoot in 2014. I told my director (Don’t worry, she’s on the hunt to attach the right producer) that if we shot on 35mm or the Alexa, I guarantee we would not rent Grip/Electric equipment. The only exception would be if she wanted a dolly or car rig. I’m very comfortable with both the Alexa and Kodak stocks. I know the combination of latitude, how I can manipulate available light and decisions made with the Production Designer, will create the director’s desired look. I’d commit to not changing the total amount budgeted for cinematography, just how we allocated funds.

Shooting 35mm for a low budget feature film is nothing new. “George Washington”, “Duck Season”, “Napoleon Dynamite”, “Pariah” and “Chop Shop” were all impressively shot on 35mm for budgets under $1 million.

For inspiration on how to shoot with an Alexa and mostly available light, read about DP Yves Belanger’s work on “Dallas Buyers Club”.

2 Hire a Professional Production Designer as a Consultant. A PD’s ability to elevate a story via color, space and furnishings is it’s own form of wizardry yet frequently an afterthought in low budget films. Before putting your best friend’s unemployed roommate in charge, see if you can consult with a pro. Pay them well for three days work (instead of 2 months) to offer suggestions on the overall look of your film, advice on which resources and locations are budget friendly and to recommend crew who can do the “day to day” and operate successfully within your limitations. Ask how they’d like to be credited.

3 Color. I’ve already discussed at length the importance of color. Also see “Blue Caprice” for white wall interiors handled beautifully and “The Loneliest Planet” for subtle yet stylized use of color in nature.

4 Radical Story = Radical Visuals. Don’t play it safe visually if your film is crafting a new “reality”. Consider: “28 Days Later”, “Eraserhead”, “Pi”, “Texas Chainsaw Massacre”. A new reality means you and your creative team can experiment and redefine what NYC looks and feels like at 120 degrees (in December) or how someone’s vision changes when they’re “one of the infected”. Have fun, be bold and let your restrictions work in your favor.

5 Go International. Adding footage from a different country can have immense visual impact on your story and in explaining the inner lives of your protagonists. Hire a filmmaker friend in another country to shoot b-roll. In a similar vein, shoot visually captivating insert shots that don’t require actors nor much crew. I was extremely moved by the time lapse in “Boys Don’t Cry”.

6 One Hyper Realistic Scene. If your budget, resources and narrative dictate simple visuals, see if one scene can be stylized to play against that. I don’t want to spoil it but there is a perfect example in “Dallas Buyers Club”. Low budget horror films will do the same: save their money for one big scare or special FX. Budget for a lean crew and hire “day players” when needed.

7 Shoot B/W. It gives the lowest budgeted film a certain panache. Even subjects that you think “should be shot in color” can be more effective in black/white.

8 Sound Affects Cinematography. Poor location audio can ruin the most gorgeous of images. Innovative sound design can make them more powerful. I can’t imagine my beloved “There Will Be Blood” without “the work of Christopher Scarabosio and Matthew Wood. Instead of spending money on music rights, collaborate with your Sound Dept. Tap into their creativity the same way you would with your DP.

Access is key. What do you have free access to that you take for granted?

9 Access to a Vehicle (motorcycle, car, bus, boat, hoveround). I recently saw “Bellflower” ($17k budget). It benefits from a unique twisted premise, an extremely crafty DP and a road trip. It’s amazing how a change in terrain makes me feel like they’ve spent a lot of money. Think “Easy Rider”, “Y Tu Mama Tambien”, “Thelma and Louise”, “Little Miss Sunshine”.

10 Access to a Visually Unique Location. Before you set a scene in your dorm room or parents’ suburban home, ask yourself where else do you have access? Production value increases even more if you can show the “behind the scenes” of a location. Access to your aunt’s jewelry shop? Also film in the back where she does repairs.

11 Access to a Major Public Event. Protests, holiday fireworks, parades, carnivals etc. This is my favorite. Examples are “Get On the Bus”, “Medium Cool”, “La Haine”, “Blow Out”, “The Official Story”. Take advantage of someone else’s big budget or event planning. The b/w photo above (Actress Susan Heyward with my 2nd unit camera op) was taken while filming a narrative during the 2009 Inauguration in DC.

12 Access to a Niche Culture. A glimpse into another community offers immeasurable production value.  It can provide not often seen locations, costumes or people. Your Capoeira club. Your Dad’s union meetings. When you have access, creatively exploit it: b-roll, using real people as extras, consider how it reflects on your protag and their journey (see the Housing Rights Committee scene in “Medicine for Melancholy”).

13 Access to Under-represented Weather. Does every exterior scene take place on a partly sunny day? That may be easiest to film but snow, during or after the rain (see “wet down“) or fog could be more dramatic. The short film, “A Story of Water”, co-directed by Truffaut & Godard wonderfully takes advantage of the flooding of Villeneuve Saint George.

14 Access to Other Arts/Artists. Are you also a visual artists? Use photography (opening scene of “My Brother the Devil” and of course “La Jetee”) or animation. Almodovar is brilliant at incorporating known performers into his films. Buika, in the “The Skin I Live In”, was more than a beautiful singer, she epitomized “enchantment”. The same could be said of his use of Caetano Veloso and Piña in “Talk to Her”. Cooking is also an art. Think of all the films with beautiful cooking sequences.

15  Access to Your Old Films. You can use footage from your previous shorts, docs, or film tests for atmosphere, for flashbacks (see “The Limey”), for dream sequences etc. Unfortunately we all have films we are extremely proud of but couldn’t finish. Can you recycle that footage?

Finishing a film of any genre, length or budget is a huge accomplishment. More people talk about it, critique it than can actually pull it off. I hope I acknowledged our limitations but left you armed with new creative tools to make a good film great.



Cartier-Bresson at the Rubin!

The Rubin, (Museum, not the sandwich) presents post independence ‘40s India as seen through the lens of photographer Henri Cartier-Bresson (1908–2004).

Henri Cartier-Bresson: India in Full-Frame:

Over 60 photographs are included and … “reflect his abiding interest in the people and sites of India, including some examples of his “street photography” style that has influenced generations of photographers.”


Henri Cartier-Bresson: India in Full-Frame

Until September 4, 2017

The Rubin Museum of Art

150 West 17th Street, New York, NY

Per WikiPedia: “The Rubin Museum of Art, in New York, is dedicated to the collection, display, and preservation of the art and cultures of the Himalayas, India and neighboring regions…” It opened in 2004 in the same building that had been occupied by Barneys New York”…


Munch at SF MoMA!

Edvard Munch, (1863–1944), painted more than just “The Scream”. The San Francisco Museum of Modern Art will have 45 of his other pieces on display, including Between the Clock and the Bed, a self portrait. He “was among the most celebrated and controversial artists of his generation. But, as he confessed in 1939, his true breakthrough came very late in life… these profoundly human and technically daring artworks reveal Munch as a tireless innovator and an artist as revolutionary in his maturity as he was in his breakthrough years.”

“Between the Clock and the Bed”

Until October 9, 2017

San Francisco Museum of Modern Art
151 Third Street, San Francisco, CA

(Image: Self Portrait, 1940, “Between the Clock and the Bed”)


19th Annual Harlem Book Fair!

On Saturday, 7/15/17, there will be spoken word events, over 200 exhibit booths, music, panel discussions and children’s activities will be on hand at the Harlem Book Fair. It’s a great way to spend a Saturday in the city.

“The vision of the Harlem Book Fair is to partner with local
and national leadership organizations under the banner of literacy
awareness, affirming HBF as the nation’s largest African American
literary event celebrating family literacy, community empowerment,
and community cooperation. “


19th Annual Harlem Book Fair

Saturday, July 15, 2017 – 10 AM – 6 PM


515 Lenox Avenue, West 135th Street,, NYC



Cybel Martin

“No Vagrancy” – Ernest Boyd
“Sangam” – Prashant Bhargava
“MadCap NY” – Deborah Goodwin
“Dumbo” – Karen Slade
“Title VII” – Nicole Franklin
“Queen of Glory” – Nana Mensah
“Lumiette” – Stacey L Holman

Cybel Martin Cinematography Reel from Cybel Martin on Vimeo.



Cybel Martin is an award-winning Director of Photography for feature films, commercials, documentaries and television programs. She’s a Native New Yorker with a voracious appetite for travel. Recent projects have brought her to Tanzania, Ethiopia, Turkey and Brazil.

Her films have premiered at Sundance, TriBeCa, Toronto and Berlin Film Festivals. She’s shot commercials for Timberland Apparel, Reebok, Sony and L’Oreal; tv programs for ESPN, Netflix, NatGeo and Centric/BET. She’s been featured in Fader Magazine, American Cinematographer Magazine and most recently in Fast Company for her work shooting Virtual Reality. Cybel received her MFA from NYU’s Tisch School of the Arts and is a proud member of the International Cinematographers Guild.

Women’s Art Museum In D.C.

Women’s Art Museum In D.C.


I was not aware of its existence in Washington, DC. True, the “National Museum of Women in the Arts“, or NMWA, is one of many museums in the DC area, but this one is special because it “is the only major museum in the world solely dedicated to recognizing women’s creative contributions.”

Created in 1987,with more “than 4,000 works, NMWA’s wide-ranging collection provides a comprehensive survey of art by women from the 16th century to the present, with new acquisitions added regularly”.

National Museum of Women in the Arts

New York Avenue and 13th Street, NW, DC


DVD Corner: “Felliniesque”

La_Dolce_Vita_(1960_film)_coverart s

In a movie review, the writer described a film as “Felliniesque”.  No reference to the director, for whom the term was coined, just – “Felliniesque”. I understood.

Federico Fellini, 19241976, was one of the most influential Italian directors of his day. His films were character driven, people and plots sometimes bizarre and outrageous, but the inhabitants of his pictures were closer to the reality of the everyday world than what was usually seen on screen during the 50s and 60s.

Four of his films won the Best Foreign Film Oscar: La strada (1954), with his wife Guilietta Masina and Anthony Quinn, Le Notti di Cabiria (1957) (Nights of Cabiria), (1963) and Amarcord (1973).

But, his film La Dolce Vita (1960) with Marcello Mastroianni brought him worldwide fame. The famous/infamous frolic in the fountain scene with Marcello and Anita Ekberg seemed such wild decadence in the 60’s, but, pretty tame now.

BTW:  “Felliniesque” is often used to describe films that put a character’s inner thoughts and/or memories into dreamlike  sequences, and/or scenes that move backward/forward in time.

Films to find on DVD:


For 2017: African American History At The Smithsonian

For 2017: African American History At The Smithsonian


The National Museum of African American History and Culture opened in September 2016. As expected, tickets have been hard to get, but maybe you can add a visit to your 2017 to-do-list. There’s lots to see and experience. The museum’s 11 massive galleries display, in total, more than 30,000 priceless artifacts according to its website.

Founding director Lonnie Bunch says, “This is not (nor was it ever intended to be) the National Museum of Discrimination…For me, the African American experience is an experience not of tragedy, but of unbelievable belief — belief in themselves, belief in an America that often didn’t believe in them”.

National Museum of African American History and Culture