Questions by Tara Sanders Brooks, Cinematographer and Writer
Fernando Argüelles, ASC, AEC
Fernando Argüelles, ASC, AEC is a renowned cinematographer whose journey began in Madrid, Spain, where he studied visual storytelling at Complutense University. He later earned a Master of Fine Arts in Cinematography from the American Film Institute (AFI) in Los Angeles. A respected member of both the American Society of Cinematographers (ASC) and the Spanish Society of Cinematographers (AEC), Argüelles also belongs to the International Cinematographers Guild, the Television Academy, and the Society of Camera Operators (SOC), among other professional organizations.
With an impressive body of work spanning film and television, Argüelles has brought his distinctive visual style to acclaimed productions such as Prison Break, SWAMP THING, Hemlock Grove, Fear the Walking Dead, The Ditchdigger’s Daughters, and The Princess Switch, among others. His work consistently demonstrates a deep mastery of cinematographic craft and a compelling sense of visual storytelling.
Passionate about nurturing the next generation of filmmakers, Argüelles serves as Co-Chair of the ASC Vision Mentorship Program, which promotes diversity and inclusion in the industry. He is also a dedicated educator, regularly leading webinars, master classes, and teaching engagements around the world.
What initially drew you to working in camera?
I’d say curiosity was the starting point. I’ve always been drawn to images—not necessarily just movies, paintings, or photographs, but visual representations in a broader sense. I loved observing the work of artists and exploring how visuals communicate. My parents’ passion for going to the movies certainly deepened my interest in moving images. My first camera was a Yashica 35mm with a fixed lens, and from there, I dove into black-and-white still photography. What began from the curiosity of a young amateur gradually evolved into both an artistic and professional pursuit. Every step along the way, I found myself more engaged and inspired. All those hours spent shooting and developing still images laid a strong foundation and became a valuable learning experience that shaped the rest of my career.
What inspires you artistically?
What always intrigued me was the power of images to hold memory and emotion. Even in my early photographs, I wasn’t just trying to document—I was trying to understand something deeper about people, places, or moments. There’s a kind of intimacy in visual work, a quiet way of connecting with others. That sensitivity stayed with me as I moved into other forms of visual storytelling.
Film noir from the 40’s & 50’s had a big influence on my career. I love John Alcott, BSC’s work in black and white. I grew up in Europe so European films like; Italian neorealism, French “nouvelle vague”, English New Wave had a big impact on my career. Japanese films, from directors such as Oshima, Kobayashi, and Kurosawa had a big effect on my filmmaker’s philosophy.
As a filmmaker and artist I am inspired by all forms of art, from photography to architecture, from paintings to design and the remarkable visionaries that created such extraordinary works. Four painters had a great influence in my career regarding lighting, composition, perspective and how to approach my visual point of view in storytelling; Velázquez, Caravaggio, Goya and Sorolla. I’ve shot film most of my career; 35 mm, 16 mm., super 8. The study of these Masters helped me to understand the combinations of colors and pigments with different layers of shades, tints and tones in their work. My general approach was trying underexposing/pushing and sometimes pulling film stocks to formulate color hues in blacks and shadows for a more painting approach.
When you were coming up, you co-founded a production company and created over 30 short films. What did you learn from putting in all those hours?
I do not think I’d be in my position now without that training and experience. That small production company laid the foundation of my career, the excellent continuous practice working mainly in 35 mm., color and B&W, 16 mm and Super 8 short films was crucial in my formation as a cinematographer. Working with many directors, producers and crews as well gave me the experience of teamwork.
What drew you to being involved in the Altitude Awards?
I met Tema Staig a couple of years ago when I expressed interest in doing a Master Class on 35mm film for WIM. Following that, Tema invited me to a WIM event where my potential participation in last year’s Altitude Awards was discussed. I saw it as a great opportunity to collaborate with WIM, so I presented an award at last year’s ceremony—and now I’m thrilled to be back this year.
I believe WIM is a unique and valuable platform for women in the filmmaking industry. It’s an incredible space to grow, learn, and connect with inspiring professionals.
As an ASC and AEC member, what have you gleaned from your international career that you wish more cinematographers knew?
One of the most important things to keep in mind is the need for flexibility. What we’re used to in one country may not be the same—or even similar—elsewhere. This applies to everything from equipment and crew dynamics to production workflows. More and more people are filming internationally these days, which makes adaptability even more essential.
Clear communication is also key. I highly recommend having a translator from the local production company with you at all times to avoid misunderstandings. Use common sense, and remember that some local crews might feel a bit intimidated working with a U.S. production. Be kind, show respect for other cultures, and take the opportunity to learn from them as well.
What advice do you have for young filmmakers as they start their journeys in the film industry?
My biggest advice to young filmmakers is: stay interested, intrigued, stay humble, and keep creating. Don’t wait for the “perfect” project or the perfect conditions—just start. Every film, no matter how small, is a chance to learn and grow. Also, collaboration is key. Surround yourself with people who challenge and inspire you, and don’t be afraid to ask questions or try something new. Be open to feedback, stay persistent, and remember that your unique voice matters. Lastly, be respectful on set, learn from everyone—from the DP to the PA—and always keep evolving, both as an artist and as a human being.
What’s next for you?
Staying curious indeed!!
Read more about Fernando’s work on Swamp Thing in American Cinematographer magazine’s Dec 14, 2019 Issue: Filmmaker’s Forum: Don’t Panic, It’s Organic — A Swamp Thing Discovery Saga https://theasc.com/articles/filmmakers-forum-dont-panic-its-organic-a-swamp-thing-discovery-saga
