Film Cinematographer Yihuan Zhang’s Unique Viewpoint & Storytelling Approach are Invaluable Assets
“The role of a Director of Photography (DP) is evolving rapidly due to advances in camera technology. With smartphones continually improving, you can essentially shoot an entire movie with just a couple of cell phones. The line between professional and amateur is increasingly blurred. Being a DP is now more about working creatively with the director, sharing a vision for the story, and less about knowing how to operate the equipment” — director, cinematographer, Yihuan Zhang
Several movies that Yihuan Zhang has been a cinematograher (DP) on, have appeared in international film festivals from LA Shorts, World Culture Film Festival to Prague Film Festival and the WorldFest-Houston International Film Festival. For example, his short films like Last Days of Summer, One Tree Inn, and The Blessing in Disguise have earned recognition on the shortlist of film festivals; while his first short documentary, Beautiful Dreams, was screened at Aethetica Short Film Festival.
Born in China, Yihuan has degrees in Architecture, and also in Film Production from USC, and he finds a strong connection between the two disciplines, which have inspired and supported his present work in filmmaking. Growing up, he explains how his father briefly owned a small movie theater and he remembers standing in the doorway of the screening room, with his father holding his hand as they watched an exhilarating Hong Kong action movie: “I think it was one of director John Woo’s action-filled movies. But then I had little further connection with film until high school.“
Yihuan Zhang, who has enjoyed working on scripted dramas, recently worked on some inspirational documentary films like Celebration of Life and On My Road to Dharma, further explains: how his architecture studies have influenced his filmmaking; and, what he’s learned about documentary filmmaking.
— What are your strengths as a DP?
— My first strength would be my perspective. Whether I’m working as a DP or as a director, I believe my unique viewpoint and storytelling approach are my greatest assets. This includes the kinds of stories I choose to work on, the visual style I prefer, and how I approach problem-solving during production. For instance, I’m often drawn to exploring the relationship between individuals and their environments or circumstances. This perspective greatly influences my storytelling. As a director, I am frequently interested in stories that reflect this dynamic between individuals and their environment. As a DP, I aim to visually connect characters with their environment through thoughtful framing.
— Can you further explain how your architecture and design studies influence you?
— It’s another strength that architecture has given me — my ability to observe and understand the relationships between people and their environments. I have developed a habit of observing how individuals adapt to their surroundings and how those environments shape them. This perspective greatly influences my storytelling. I enjoy exploring the characters’ relationships with their environments and how they affect one another. I like to delve deeper to understand how a person has been shaped into who they are.
— Can you explain how your love for filmmaking got re-ignited?
— Back in high school, movies were more of an escape from the stress and monotony of daily school life. I’d download a movie to my small MP4 player and watch it with classmates. On that tiny 4-inch screen, we would find moments to experience a different life through the characters. That was when I first dreamed of making films one day, though back then it felt like just a distant dream. It wasn’t until I went to college to study architecture that the dream returned. I realized I was more interested in the people within spaces than in designing the spaces themselves. That realization re-ignited my passion for filmmaking, and I decided to pursue a career in film after studying architecture.
— What did your first camera teach you about observing people and spaces?
— I started doing camera work after graduating from college, using a small Sony mirrorless camera. I shot everything with it — photos, videos — without much technique or skill but with a passion for capturing portraits. I began by photographing my family and shooting small documentaries or daily routines of anyone willing. I enjoyed observing through the lens, noticing how the presence of a camera often influences people’s behavior, either making them act or conceal parts of themselves. For instance, if I saw someone interesting on the street and asked to take their photo, they would either shy away or suddenly stand straight, becoming very self-conscious. I found this dynamic fascinating. This is one of the main reasons I decided to become a DP and a director. I’m deeply interested in people — their faces, their bodies, their stories, where they come from, and their current environments.
— Explain how the documentary format appeals to your strengths as a filmmaker?
— When working on a fiction film, you need time to write the script, assemble the crew, and shoot the scenes, which can take years. In contrast, documentaries allow you to capture what is happening right now. These moments don’t have to involve major events; even small, daily occurrences can hold immense power.\For example, while working on Celebration of Life, we followed a couple in their 50s who were both undergoing cancer treatment in a hospital in LA. After their treatment, they rested in a small garden behind the hospital. The husband fell asleep in a chair near a small pool while the wife walked up behind him, gently reached out, and looked at him without waking him. I happened to be nearby and managed to capture this scene on film. I believe this is a natural moment without any acting involved. We all knew each other and had nothing to hide; they probably didn’t even notice the camera. This moment tells its own story without needing any explanation. Looking back, I find those natural and authentic moments to be truly remarkable. As a young filmmaker, I often feel that my most important job is to capture what is happening right now and to tell those stories, even when working on fiction. All the famous films are based in the past, but now is our time to tell our stories.
— What’s upcoming?
— I’m excited to be working on two new feature documentaries — One More Dance and You Tell Me How to Live — and use the skills I have to make them as impactful as possible. I’ve also been planning to take as many portraits as possible of people in their living spaces or places that hold meaning for them. If I gather enough, I hope to create a photo book dedicated to capturing these individuals and their environments. Documenting their lives in the moment in still photos.
Check out Cinematographer Yihuan Zhang on IMDb, and on Instagram.
