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Press Quotes for The Undeclared War from Martin Carr in Yahoo News

"Other elements adding a degree of detail to this thriller that might go unnoticed, include some understated, but no less sophisticated cinematography from Gavin Finney. He previously collaborated with Peter Kosminsky on 'Wolf Hall', but also helped shape the look of 'Good Omens' for Prime Video. It's a partnership which continues to pay dividends here, as a fluctuating colour palette, and some overtly intimate framing, ensures 'The Undeclared War' keeping audiences engaged."

Press Quotes for The Miniaturist From The New York Times

...Striking, painterly cinematography

From Salon

The cinematography in "The Miniaturist" imitates a vemeer masterpiece's interplay between light & shadow, engulfing the action in a mesmerizing glow that both augments and glamorizes the weight of what is essentially Petronella's prison.

Press Quotes for Wolf Hall

From ‘The New York Times’ (Mike Hale)

"Shot with a ravishing candlelit chiaroscuro. (The lovely cinematography is by Gavin Finney.)"

"Gavin Finney's cinematography aptly paints each frame like a portrait...In fact the lighting is like another character, telling as much about the fortunes of the players as the dialogue between them."

"Kosminsky, along with cinematographer Gavin Finney, let's us pass under the red velvet rope of England's stately homes and sink into their opulence."

"Contemporary and superbly shot – the scenes you think seem to be lit just by candlelight really are exactly that, which lends the production an added layer of realism"

"It looked beautiful (cinematography: Gavin Finney; also high fives for all the designers)"

"It was also a triumph of cinematography — the candlelit ambience illuminated the shadowy politics."

"Also, the length and the quiet of some of the scenes mesmerize you into the moment of life in the 1500s, helped by a seductive production design and fire-lit cinematography that is dim and transporting."

"The color palette of the series is a period-appropriate chiaroscuro, delivered by Gavin Finney, and the careful bounds of the production make every moment feel not like the 21st century looking back at the 16th but the 16th, itself."

Royal Television Society Award citation for Wolf Hall

"DOP Gavin Finny embraced the darkness of the times and with unerring confidence slowly unfurled this captivating political intrigue in a series of beautiful and bejewelled scenes reminiscent of Vermeer and Rembrandt."

Royal Television Society Award citation for Going Postal

“A perfect example of director and DOP in perfect harmony...with magical sequences that were technically extraordinary, as well as visually stunning.”

From ‘The Daily Telegraph’ (Tim Robey) on THE FLYING SCOTSMAN

“...and Gavin Finney’s long-take velodrome cinematography is frequently rather excellent.”

From: ‘Screen International’ (Allan Hunter) on THE FLYING SCOTSMAN

“...The Scottish locations captured in glowing sunshine and teeming rain by Gavin Finney’s handsome cinematography might also prove an attraction for international audiences.”

From: ‘Variety’ (Eddie Cockrell) on THE FLYING SCOTSMAN

“...Tech package is solid, with Gavin Finney's fluid lensing typified by an audacious and unbroken shot in and around the floor of one velodrome….”

From: ‘The Seattle Times’ (Tom Keogh) on THE FLYING SCOTSMAN

“...Gavin Finney’s cinematography provides a unique perspective on a racing cyclists view...”

From: ‘Total Film’ (Neil Smith) on THE FLYING SCOTSMAN

“...Mackinnon and his DoP Gavin Finney invest the pivotal velodrome sequences with a tension and urgency that get the pulse racing.”

From: ‘Variety’ (Derek Elley) on KEEPING MUM

“...DoP Gavin Finney's burnished colors creating a mildly exaggerated rural look.”

From: ‘Hollywood Reporter’ (Kirk Honeycutt) on KEEPING MUM

“...Cinematographer Gavin Finney and designer Crispian Sallis create a magical English village out of locations in Cornwall and the Isle of Man…”

From: ‘’ (Stephanie Zacharek) on ALEX AND EMMA

“’Alex and Emma’ is often pretty to look at: Cinematographer Gavin Finney gives the fantasy-period stuff, in particular, a nice dewy, nostalgic feel.”

From ‘The Independent on Sunday’ on GORMENGHAST

“...Imaginatively designed and ravishingly shot...Looks spectacular”

From ‘Variety’ (Deborah Young) on BREATHTAKING

“... A well made, stylish Brit thriller...Lensing by Gavin Finney is the ultimate in noir chic.”

From ‘Sight and Sound’ (Philip Kemp) on TOM’S MIDNIGHT GARDEN

“Gavin Finney's photography neatly reverses expectations in contrasting the periods: the 50s sequences have a slightly soft-edged glow, while the Victorian episodes are crisp and sharp.”

From ‘’ (William Gallagher) on TOM’S MIDNIGHT GARDEN

“...the look of the film by Carroll and cinematographer Gavin Finney is sumptuous. The 1950s settings are suitably drab next to the glory of the garden and the effects of the house transforming are a delight.”

From ‘Variety’ (Derek Elley) on DAD SAVAGE

“Gavin Finney’s immaculately composed widescreen lensing is the undoubted star of the enterprise, in both the cramped interior of the basement and the flat vistas of England’s Fenlands.”

From ‘Sight & Sound’ (John Wrathall) on DAD SAVAGE

“Strikingly shot in the bleak flatlands of Norfolk, Dad Savage is one of those rare British thrillers that conjures up a whole new cinematic landscape...the wide screen captures the yawning emptiness of the East Anglian marshes and hints at the emptiness of the backwater life Vic, Bob and H are trying to escape from.”


“ achievement helped along by the high quality cast and a chiaroscuro feel to the should keep viewers gripped.”

From ‘The Financial Times’ on THE SCULPTRESS

“...Furthermore Gavin Finney’s photography is outstanding...”

From ‘The Late Show’ on THE SCULPTRESS

“... A very, very powerful, beautifully shot beautifully made piece.”

From ‘Time Out’ on THE SCULPTRESS

“...the whole series has a stylistic purity that makes it stand out from the crowd.”

From ‘Variety’ (Derek Elley) on BEDLAM

“Tech credits are largely good given the limited budget, with some stylish lighting by d.p. Gavin Finney, the $ 3 million production has an umbral, high-gloss visual style in its early going that cleverly relies on closeups and spare, lightly dressed settings.”

From Christopher Tookey / ‘Daily Mail’ on BEDLAM

“...Vadim Jean’s second feature is in one respect an improvement on his first, comedy Leon the Pig Farmer. It is much more style conscious; he and cinematographer Gavin Finney have worked wonders on a budget of under $3 million”

From Geoff Brown / ‘The Times’ on BEDLAM

“...Jean and his colleagues take the bold change of style in their stride. Judged purely on the visual level, Beyond Bedlam showers the viewer with fantastic sights. Cameraman Gavin Finney uses a bizarre spectrum of colours dominated by blue and amber, while a wonderfully dank, gothic ambience permeates the corridors and rooms of the disused Friern mental hospital that served as location and studio. This is confident, full bodied movie-making.”

From ‘Time Out on STRANGERS

“...Polished direction, an intelligent use of music and atmospheric visuals from cinematographer Gavin Finney combine to make this a menacing, highly accomplished thriller.”

Press Quotes