Here is an interesting piece by Deirdre O'Toole regarding Irish Cinematogroahers and their work. In this abbreviated introduction to her dissertation "Constructions of Irish Cinematography by Irish Cinematographers" for her National Film School, IADT, Filmbase/University of Staffordshire Degree, Deirdre investigates if there is a distinctive Irish Cinematography style present and practised today by the body of Irish DoP's. In her research she interviews many members of the ISC.
"With the establishment of the Irish Society of Cinematographers in 2012 it is timely to consider if Irish cinematographers think that a distinct Irish cinematography style exists. This study investigates if this “Irish cinematography style” has been fed by shared visual references, history and education or whether Irish cinematography can be legitimately considered as a distinct entity".
She posits the question:
"The role of the cinematographer has long been recognised in America and the European continent, however there has been little written about Irish cinematography and to date knowledge of Irish cinematography is limited. The aim of this research is to elucidate the constructions of Irish cinematography made by Irish cinematographers. A narrative approach was used to answer the research questions and elucidate if Irish cinematographers consider that there is a distinct Irish cinematography style, if they share the same visual references and finally to understand what Irish cinematographers consider to be the influence on their work of the training and education in filmmaking that has developed in Ireland and Europe. I argue that these cinematographers, by largely ignoring issues of national identity, demonstrated that constructing Irish cinematography is not necessarily dependent on the projection of a national identity but rather is concerned with a collective body of work".
In her conclusion she states...
"The central argument of this paper is that the relationships that developed during film school and those that developed later among colleagues, including gaffers, emerged as the most salient feature of Irish cinematography. I argue that these cinematographers, by largely ignoring issues of national identity, demonstrated that constructing Irish cinematography is not necessarily dependent on the projection of a national identity but rather is concerned with a collective body of work".