• I happened upon the work of photographer David D, from Ukraine. His work is above and here:

    Stunning, elegant, and precise. To some, a lot of his work can seem sexually provocative, but the amount of class he injects into his nude photography elevates his work from pornography to a master painter.

    His compositions are brilliant (evident with the ballerina completing a circle with the window), his use of the sun realistic with subtle mise en scene, and the stories he tells from the subjects are compelling. One can’t help but find a connection with the characters in his images, albeit most of them stare directly at you.

    I would love to see David expand his work from women to men, children, and animals.

    There’s not much I can find so far online about him other than his profile page on However, I’ve emailed him to find out more…and to compliment him on inspirational photography.

  • Today I’ve started something new for me.

    In an effort to expand my network and shoot new projects, I’ve started cold calling via email. It’s very odd, I feel like a door-to-door salesman. However, after listening to ‘The Wandering DP’, it seems like a very natural thing to do as a cinematographer.

    From what I’ve read, it’s best to email at least 20-25 people a day to see some real results. My approach is to build a relationship with the people I email, not just email a job request. I learned this method from Mark Schimmel, a commercial director I had as a professor at Columbia College. Developing a good relationship from the beginning, I believe, can make a long lasting relationship.

    So, I’ll keep updating everyone on my cold calling! I was able to do 15 emails today, with two responses, and one coffee meeting scheduled! Not too bad!

  • The Watchman’s Canoe is a feature film I’m currently in pre-production for, with production slated in June 2016.

    The film takes place in the 1960s focusing on a young girl living with her family on a reservation in the northwest US.

    Barri Chase, the director, and I are playing around with making the cinematography look like it was from the 60s.

    Right now, I’m testing the idea that this movie was something you found in your grandmother’s attic. Basically, a giant can of 16mm film that contains the memory and story of our character, Jet.

    These photos are test shots I took on 35mm with my Yashica FX-3. I used a combination of Fuji and Kodak stock, but the feature will be shot most likely on 7219 (for grain structure).

    Dirty, old, mis-used film is what I want the test shots to look. I developed this negatives myself in my kitchen sink and scanned them in myself with my Canon 5D.

    Scanning the photos in was an experiment to make the image messier; I used cardboard to cut out a “frame” for each shot on the negative.

    Developing the photos by hand DIY also added dust, finger prints, hairs, and chemical stains.

    The stills so far are looking great, and I still have another roll to complete. However, I’m worried if this style will carry over to motion picture.

    Luckily, we have the digital test footage from the concept trailer. This digital footage can help be a proof of concept and also give us insight on the post-process for making digital look like old film with we end up shooting digitally instead of on film.

    More stills to come!

  • Frame grabs from To Emmy, a short I shot in Stanford, California.

    Director: Tayo Amos
    Cam: Canon 5D Mark II with Cinestyle Picture Profile
    Glass: Nikkor Cinevised Primes

  • Frame grabs from “The Watchman’s Canoe”, a feature I’m shooting in Oregon.

    These grabs are from the concept trailer we put together for our investors. The actual feature will be shot in June 2016.

    Dir: Barri Chase
    PD: Alan Dendinger
    Cam: FS7 with Odyssey 7Q+
    Glass: Zeiss Uncoated Primes

    Camera and lenses provided by ProHD Rentals.