BIO
CONTACT
CHIARA’S STORY
Branded Short Documentary
Piggybacked OOH + Print Campaign
Prod. Co.: Third Story
Shot on: ARRI Amira + Leica Summilux-C
Phase 0ne XF IQ4 + Schneider Kreuznach
ON THE FLY - ADVENTURES AT ALTITUDE
Docuseries
Co-Director/DP, EP 3
Prod. Co.: TIME Studios, Ellipsis, Relatives
Shot on: FX9 + Leica Summilux-C, Agenieux EZs
Verité Package
Prod. Co.: MLBN Features
Shot on: ARRI Amira + Angenieux EZs
CAL RUGBY - AMERICA’S WINNINGEST TEAM
Documentary Photography Essay
Agency: Redux Pictures
Documentary Photography Essay
Agency: Redux Pictures
Commercial
Director: Chris Stanford
Agnecy: Phenomenon
Shot on: ARRI Alexa Mini + Superspeeds
INTO IRAQ WITH THE MARINES OF 3/7
Documentary Photography Essay
Invasion (2003) and Occupation (2004)
Agency: REDUX
Documentary Photography Essay
Invasion (2003) and Occupation (2004)
Agency: REDUX
Docuseries (EPs 1,12,15)
Prod. Co.: Roadside
Shot on: ARRI Amira + Angenieux EZ
DETROIT - WE RUN 313
Pilot Docuseries
Prod. Co.: Tropical Jealousy
Shot on: ARRI Amira + Angenieux EZ
Pilot Docuseries
Prod. Co.: Tropical Jealousy
Shot on: ARRI Amira + Angenieux EZ
Documentary Photography Essay
Agency: REDUX
JUSTIN ROSE - HERE, NOW
Branded Short Documentary
Director: Chris Stanford
Prod. Co.: Taco Truck Creative
Shot on: ARRI Alexa Mini + Leica Summilux-C
Verité Package
Prod. Co.: Ellipsis
Shot on: ARRI Amira + Angenieux EZs
AMERICA’S MAINSTREET
Documentary Photography Essay
Agency: REDUX
Documentary Photography Essay
Agency: REDUX
Branded Short Doc
Director: Mike Million
Prod Co.: Third Story
Shot on: FS7 + Zeiss CP2s
POLITICO:DIFFERENT
Advertising Campaign
POS, OOH, PRINT
Advertising Campaign
POS, OOH, PRINT
Digital Social
Agency: Genesco
Shot on: FS7 + Agenieux EZs
GENTLEMEN, THIS IS VODKA
Advertising Campaign
POS, OOH, PRINT
Agency: GREY
Advertising Campaign
POS, OOH, PRINT
Agency: GREY
I started my career as a photojournalist working on high pressure assignments for magazines like TIME and ESPN where I mastered the ability to build rapport with subjects and gain access quickly. Then, I adapted the skillset to working as a DP and DP/Director.
Putting people at ease; so we can work unobtrusively with confidence and agility is a key ingredient to making real, memorable images. Done properly, it opens doors and destroys facades. We get closer.
I’ve talked my way onto combat missions with Marines, into operating rooms with brain surgeons and up to the dinner tables of families whose language I didn’t speak. The trick is as simple as it is difficult. It works the same on big commercial sets as it does on the street: pay attention, be sincere, have respect, and-- know when, exactly, to check your ego and just get out of the way.