LIGHT AND SHADOWS

Geometric designs are always eye catching when approached correctly, so I often try to create them through abstract forms in my photography. Sometimes when you contrast the obvious with light and shadows, you find that you have a pattern that looks striking. That’s what i’m looking for, a common thing that’s looks unique. And I love how this photo breaks the rule of thirds, yet somehow doesn’t.

TRANSPORTATION

Sometimes getting around on set can be a challenge but it’s always critical. Some of my crazier rides have been horses, charter planes, motor boats, ATV’s, and the Senate tram. I must say, it’s always fun to shuttle around in a not so normal way. The only downside is making sure you have the right gear on you when traveling light, because usually there’s no going back. So no forgetting lenses, media cards, flexfils, c-stands, etc. As my mentor used to say, you’re only as good as your last battery.

FLYING THE DRONE

I love using drones for productions, so I got my FAA license so I could take my eye to the skies. I used to use drone ops but I felt they weren’t delivering the shots I wanted. So now I can throw in little shots here and there that pepper a production without taking a lot of time. Plus the production value from a quick flight can make or break a scene, and with a drone, you can’t go wrong.

THE RULE OF THIRDS

I’ve always been a “rule breaker” but only when necessary. The picture above with the azul sea, blue sky, and worn out brown fence is a perfect example of using creativity to bend the rules and still land with a powerful image. I’ve discovered with cinematography, a keen eye with a unique perspective can usually land an interesting shot if one is willing to look for it. And I’m always looking. This shot is definitely adhering to the rule of thirds but in a unique way.

TRAVEL

What can I say, I love to travel. Being on the road domestically or internationally for work brings me great joy. Ever since I was a kid I envisioned myself shooting overseas, so being a DP who’s worked internationally regularly for over the past 10 years has brought me great joy. Sure, it’s a lot of hard work and long hours, but the payoff is immense. New culture, new friends, new food, the list goes on.

Whether filming a ski scene on a volcano in Chile, scuba diving in the Caymans, or sailing in the open seas off the coast of Belize, the rewards and sense of accomplishment are immense. All shoots are challenging, but when going into extreme elements, much thought and care is essential. You only get one chance and you have to make sure the image sticks, which I always do.

SCOUTING

A crucial element of great television is the scout. Sure, as a follow-doc shooter, I can make anything look great on the fly, but if given a chance, I’d rather scout first. Knowing your best angles and where your light source will be coming from removes a huge burden when preparing to shoot, especially if you’re going for the “natural” look with minimal lighting. And if it’s for a scene on set, all the better, you’ll be able to move fast when the time comes without slowing production down. Plus, everyone will be able to state their worries and work out any issues ahead of time.

I'M WITH THE BAND…

Without a doubt, traveling with a band is cool, especially if you dig their music. Recently, I had the great fortune of going on the road for a week with the Drive By Truckers in Mississippi, Alabama, and Georgia to film a documentary about the music scene out of Athens, GA. Can you say fun and exhausting in the same sentence? I can. And the rewards are endless. Visiting Muscle Shoals recording studio, touring a gin distillery, chowing on good ‘ole southern food, driving back roads, and hanging with the band, what more can I say…

THE INSURRECTION

I don’t really know where to start with this one, but it was definitely a once in a lifetime experience shooting “The Circus” for Showtime on Jan. 6th. I was shoulder to shoulder with the Proud Boys on the Eastern side as they chanted “Fuck Antifa” and then face to face with the insurrectionists on the Western side as they plowed over the fencing surrounding the Capitol. I thought it was in jest as I heard them screaming “Are you ready to bleed for your country? Are you ready to DIE?!”

Luckily I had the wherewithal to hop in the bed of a F-150 pickup truck and shoot from there, so when the office called and asked me to retreat I was able to inform them that I was perfectly safe. No way was I leaving, history was unfolding before my eyes and I’m a cameraman, it’s what I live for. So I continued shooting patriots as they stormed past me chanting “Fight for Trump. Fight for Trump…” and witnessed gas canisters exploding in the distance as the crowd overwhelmed the Capitol Police and broke into our hallowed halls of Congress.

It wasn’t until later that evening when I remembered that I had seen a roughly hewn gallows on the far eastern side of the Mall…..

REVERENCE

Being an artist, I jumped at the chance to shoot a video for the The Smithsonian Institution at the National Portrait Gallery. I’ve always held it in reverence, and I walked the halls in awe as I absorbed the great pieces around me, occasionally stopping here and there to take in the gloriousness of my surroundings. And due to COVID, we were the only souls in the entire building and the silence was golden…it let the artworks speak for themselves..

EYE OF THE BEHOLDER

Working with Cosmo Digital aand Shalom Blac was supposed to be "just another shoot". Instead it impacted me as a human being, and left me in awe of Shalom"s strength and fortitude in the face of adversity. 

At a young age, she was badly burned at her mom's restaurant in Nigeria, leaving her with lifelong scars both physically and mentally. After numerous surgeries and a will to overcome, she immigrated to the US and is now a makeup artist inspiring people far and wide with her YouTube channel.

Thank you Shalom, beauty is truly in the eye of the beholder.

LOCATION LOCATION LOCATION

When working in a visual field, location is everything. Without proper scouting and timing, a magical moment can turn into one's worst nightmare, so careful preparation is key. Showing up to a location and finding out that the crowds are too large or the orientation of the shot is incorrect just adds to unnecessary delays. No one wants to make a "company" move if they don't have too. Time is of the essence in production.

PERSPECTIVE

Having a great "eye" is crucial when working as a Director of Photography. I often say that studying Engineering and Mathematics laid the foundation for mine. To me, it's all about the inherent weights and measures of a certain perspective that add up to make a perfect shot. Not everyone sees things the same way, so photography allows individuals to make a statement with their own vision.

DOWN DAY

Most people assume that working overseas is always exciting. The reality is, I'm often getting up before sunrise and wrapping after sunset and have little time to do anything else but eat and sleep. But....if I'm lucky, I'll have a "down day" and get to go do something adventurous. I've had the personal good fortune of sailing off St. Lucia, riding atv's in Costa Rica, surfing off Easter Island, and one of my favorites.....volcano boarding in Nicaragua.

And the irony of it all.....I end up doing what i love to do most.....shooting video and still photography.

COLLABORATION

There are so many moving parts that must fit together in filmmaking that I sometimes think of production as a living organism. Whether it's notes from the office, thoughts from your talent, problems with a permit, it all comes down to everyone understanding each other's needs, wants, and visions. Together as one makes for a great day of shooting, and adding a positive attitude is icing on the cake.