by Cinematographer and director of photography name the same job: the person who designs a production's lighting and camera work and leads the camera department. Nobody hires a cinematographer and a separate director of photography for the same shoot. The difference is which word gets used, and that comes down to the credit, the union agreement, and how big the crew is.
If you're studying for an interview or writing a resume for this role, either title describes the work. Here's where each one actually shows up.
Cinematographer vs. director of photography at a glance
| Factor | Cinematographer | Director of photography |
|---|---|---|
| Main focus | Designing lighting and camera work, leading the camera department | Same job, same responsibilities |
| Typical duties | Choosing lenses, framing, lighting design, camera movement, collaborating with the director on visual style | Same duties, same collaboration with the director |
| Reports to | Director | Director |
| Where the term is used | Screen credits, the ASC honorary society, smaller productions where the DP also operates the camera | On-set job title, call sheets, union agreements (IATSE Local 600), most production paperwork |
| Education | Bachelor's degree in film or broadcasting is typical, though many break in through camera department experience | Same |
| Professional credential | ASC (American Society of Cinematographers), an invitation-only honorary society, not a union | Membership in IATSE Local 600 on union productions |
| Median pay | $74,990 median for camera operators, television, video, and film, May 2025 (BLS); BLS doesn't track a separate cinematographer/DP figure | Same occupation, same figure |
| Job outlook | 1% growth for camera operators, 2025 to 2035 (BLS) | Same |
| Work setting | Film and TV sets, studios, and location shoots | Same |
What does a cinematographer do?
A cinematographer is responsible for how a project looks on screen: the lighting, the lens choices, the camera movement, and the overall visual style worked out with the director. On a shoot, the cinematographer leads the camera and lighting departments and translates the director's vision into specific technical choices.
Typical duties include:
- Choosing cameras, lenses, and lighting setups for each scene
- Working with the director on shot composition and visual tone before and during filming
- Supervising the camera crew, gaffer, and lighting team
- Adjusting exposure, color, and framing to match the story's needs
- Reviewing dailies and coordinating with the colorist on the final look
Where "cinematographer" is the term used
"Cinematographer" shows up most in screen credits, in the ASC's own name, and on smaller productions where the same person both designs the look and physically operates the camera. On these smaller shoots, there's often no separate camera operator role at all: the cinematographer sets the shot and runs the camera personally.
Credential: ASC
The American Society of Cinematographers is an invitation-only honorary and professional organization, not a union or a labor guild. It extends membership to directors of photography with a strong body of work and adds "ASC" after a member's name on screen credits, a practice that goes back to the 1920s. Getting into the ASC has nothing to do with which title a person uses day to day; the society's own materials use "cinematographer" and "director of photography" interchangeably when describing eligible members.
Career path
Most cinematographers start in the camera department as a production assistant or camera trainee, move up through second assistant camera and first assistant camera, then camera operator, before taking on full lighting and lens responsibility as a DP. Film school helps for the technical grounding and the network, but plenty of working cinematographers built their reel entirely through set experience on independent and non-union productions.
What does a director of photography do?
A director of photography, often shortened to DP, does the identical job described above. "Director of photography" is the term used on call sheets, in most U.S. production contracts, and inside IATSE Local 600, the union that represents camera department members on union productions.
Typical duties include:
- All of the lighting, lens, and camera-movement decisions described for cinematographers
- Directing the camera operator and assistant camera crew on larger productions where those are separate positions
- Managing the camera department's equipment needs and budget
- Coordinating with gaffers, grips, and the production designer on how a scene will look and how it will be lit
Where "director of photography" is the term used
On union productions, "director of photography" is the working title used on set and in paperwork, and Local 600 represents directors of photography alongside camera operators, assistant camera technicians, and digital imaging technicians. On larger productions, the DP frequently doesn't operate the camera at all, instead directing a separate camera operator and crew while focusing on lighting and overall visual design.
Joining Local 600
To work under a Local 600 contract, a camera department member typically needs to be placed on the union's Industry Experience Roster. That usually means showing at least 100 days of paid work in a qualifying classification, such as camera operator or director of photography, on union or non-union productions within the 3 years before applying, or 30 days of paid work on an organized production within a single year. Applicants submit employment verification letters from employers or payroll companies to document those days, and the work generally needs a theatrical or television release to count.
Key differences
There isn't a job difference
Both titles describe someone who leads the camera and lighting departments and sets a production's visual style. There's no separate skill set, career ladder, or pay scale tied to one title over the other; a person's resume, IMDb page, and union card can all use different words for the exact same credits.
Where each term shows up
"Cinematographer" leans toward screen credits, the ASC's own branding, and smaller crews where the same person operates the camera. "Director of photography" leans toward on-set job titles, call sheets, and union structure through Local 600. Many working professionals use both, depending on the context.
Crew size changes the day-to-day job, not the title
On a small production, whichever title is used, that person often runs the camera personally, in addition to setting lighting and lens choices. On a larger union production, the same title holder typically supervises a full camera crew and rarely touches the camera, focusing instead on lighting design and overall visual direction. The title doesn't tell you which situation you're walking into; the production's budget and crew size do.
Where the roles overlap
- Every duty listed for one title applies to the other; there's no divided responsibility to split.
- Both work under IATSE Local 600 on union productions, regardless of which word appears in the credits.
- Both are eligible for ASC membership using the same "director of photography" language in the society's own eligibility criteria.
- BLS tracks both under the same occupation, camera operators, television, video, and film, since there's no separate government job classification for either title.
Which one fits you
There's no choice to make between becoming a cinematographer or becoming a director of photography; it's the same career. The real decisions are about crew size and specialization.
- Decide whether you want to operate the camera yourself. Smaller productions and documentary or corporate work often have the DP or cinematographer running the camera personally. Bigger union sets usually separate that out to a camera operator.
- Build toward Local 600 if you want steady union work. Start tracking your paid days in a qualifying camera classification early, since you'll need employment verification letters to prove them when you apply.
- Use whichever title matches your credits. If your IMDb page already lists "director of photography" credits, keep using that term consistently on your resume rather than switching to "cinematographer" for a specific application.
- Compare adjacent roles on set. If you're deciding how camera work fits with other production leadership, see director vs. cinematographer for how the DP's creative authority compares with the director's.
FAQ
Is a director of photography higher than a cinematographer?
No. They're the same job. Neither title outranks the other; the choice of word depends on the credit style, the union, and the production's size, not seniority.
Do you need to join a union to work as a cinematographer?
Not for every job. Non-union productions, independent films, and corporate or commercial work often don't require Local 600 membership. Larger studio and network productions typically do.
Can a camera operator become a director of photography?
Yes. Many DPs and cinematographers start as camera operators or assistant camera crew, then move up after building a body of work and, on union productions, meeting Local 600's experience requirements for the DP classification.
Does ASC membership change your job title?
No. ASC is an honorary credit, not a job title or a union card. A working cinematographer or director of photography can do the exact same job with or without ASC after their name; it recognizes career achievement rather than granting new duties.
Which title should I use on my resume?
Match whatever title appears in your actual credits and contracts. If you've worked union jobs with "director of photography" on the call sheet, use that. If your credits list "cinematographer," including any independent or festival work, keep that wording consistent rather than switching titles between applications.