BLACK BIRD

Aldana and cinematographer Natalie Kingston capture this disconnection with her own reality perfectly by using kaleidoscopic-type filters on the camera. This gives the impression that Ivy is broken. Another fantastic technique by Kingston that really pushes this sense that the real Ivy isn't really here with us and that the person we are seeing is someone entirely different now because of her disorder. Just a mirrored version. It's something that Ivy feels too. - Gavin Logan, The Fright Club

Visually, Shapeless is phenomenal. Her first feature film, director Samantha Aldana can obviously take plenty of credit for this but cinematographer Natalie Kingston deserves plenty of praise also. It feels like every single […] shot has been thought over and made precisely how they both wanted […] it is all there for a reason and it feels like it. - Alain Elliott, Nerdly

 

the wolf of snow hollow

It’s also far more visually confident than people may be expecting. “Thunder Road” was a solid dramedy but with "Snow Hollow" Cummings uses space to build tension with ace cinematography from Natalie Kingston. - Brian Tallerico, Roger Ebert

The cinematography by Natalie Kingston evokes eerie, chilly sparseness and noir shadows. - Josh Kupecki, The Austin Chronicle

The movie […] balances the humor with nicely atmospheric creepy small-town vibes, courtesy of DP Natalie Kingston. - Peter Debruge, Variety

The scenic views, in conjunction with Natalie Kingston‘s cinematography, makes Snow Hollow a film that looks far richer than its indie budget. Meagan Navarro, Bloody Disgusting

The gent makes the most of those scene-setting aerial shots that glide over country roads and crime scenes particular to scarefests from a certain era and of a certain vintage. Please give Cinematographer Natalie Kingston and second unit director pay raises, thank you very much. - David Fear, Rolling Stone

Cummings and cinematographer Natalie Kingston’s artistic eyes proved to be a match made in heaven as they bring a real voyeuristic feel to a handful of scenes and keep the viewer on the edge of their seat and guessing while others create a more intimate feel as we’re treated to some key character moments and performances, all of which add up to a beautiful film from start to finish. - Grant Hermanns, ComingSoon.net

I hope cinematographer Natalie Kingston was compensated handsomely, because the camera’s introduction of Snow Hollow is sprawling and inviting. Rows of vacation cabins under layers of fresh, wintery powder speckle the ground below mountainous peaks, blending pure white layers into one pristine landscape. It’s something out of a snow globe, or tourist’s postcard, that sets the stage for blood-soaked savagery. Kingston accentuates this wonderland vacation aesthetic that typically enchants the ski resort trails and quaint roadside delicatessens, to juxtapose Cummings’ midnight carnage. - Matt Donato, What To Watch

Cinematographer Natalie Kingston shoots things with elegantly unsettling precision. - Sara Michelle Fetters, Movie Freak

 

LOST BAYOU

The cinematography from Natalie Kingston is very impressive in how it conveys the moody beauty of bayou life in New Orleans. - Carla Hay, Culture Mix

As I watched Lost Bayou, I felt transported to the bayou through its engaging story and memorable characters. The film captures the environment and tone of this unique area of the world in such a beautiful and captivating way. - Amanda Mazzillo, Film Inquiry

Richard treats his subject matter and setting with respect, as it’s a personal story for him and much of the crew. This is evident in everything from Natalie Kingston’s beautiful, magic-hour focused cinematography and the affectionate yet appropriate score from the Lost Bayou Ramblers. - Nick Adrian, Cineccentric

The use of light through the cypress trees and reflecting off the water is staggering and stunning. Lensed by Natalie Kingston, Lost Bayou shows the beauty and the boils – both somehow equally haunting and soothing – of this region in a bold scope, one that overloads the senses with rapturous joy. - Bill Arceneaux, Big Easy Magazine


GENERAL

I believe that film is one of the most powerful art forms which can shift perspectives; it’s a vessel to empathy. It allows us to ask difficult questions and unravel the complex layers of the human psyche. Creating a visual language that translates emotions into evocative imagery is the crux of my inspiration as a cinematographer.