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For those who haven’t seen any of my work, here’s a glimpse. What you’re watching is my latest demo reel, a collection showcasing my best documentary cinematography from recent years.

8 years ago I knew I wanted to create images for cinema as a cinematographer. Along the way I found a lifelong love for documentary. There’s a kind of magic that comes from staying open to whatever kind of beauty the world offers. Especially when it arrives in forms you wouldn’t have chosen, that’s where I think I’ve learned the most.

Music: Direct Voice by Origamibiro.

@tomwillhill

Every year, tens of thousands of people pass through Guatemala’s Petén forest hoping to reach the US. Baltazar Girón stopped in his tracks, and started again. He founded @solyverdeorg: a grassroots initiative restoring ecosystems and strengthening communities across one of the world’s most climate-vulnerable regions.

Aquí me Quedo, directed by @kalinsteen and @louelena.b, tells that story. 

Aquí me Quedo is part of the Human Nature film series with @earthalliance, reconnecting humans with the natural world. You can watch it now using the link in our bio.

Every year, tens of thousands of people pass through Guatemala’s Petén forest hoping to reach the US. Baltazar Girón stopped in his tracks, and started again. He founded @solyverdeorg: a grassroots initiative restoring ecosystems and strengthening communities across one of the world’s most climate-vulnerable regions.

Aquí me Quedo, directed by @kalinsteen and @louelena.b, tells that story. 

Aquí me Quedo is part of the Human Nature film series with @earthalliance, reconnecting humans with the natural world. You can watch it now using the link in our bio.

Every year, tens of thousands of people pass through Guatemala’s Petén forest hoping to reach the US. Baltazar Girón stopped in his tracks, and started again. He founded @solyverdeorg: a grassroots initiative restoring ecosystems and strengthening communities across one of the world’s most climate-vulnerable regions.

Aquí me Quedo, directed by @kalinsteen and @louelena.b, tells that story. 

Aquí me Quedo is part of the Human Nature film series with @earthalliance, reconnecting humans with the natural world. You can watch it now using the link in our bio.

Every year, tens of thousands of people pass through Guatemala’s Petén forest hoping to reach the US. Baltazar Girón stopped in his tracks, and started again. He founded @solyverdeorg: a grassroots initiative restoring ecosystems and strengthening communities across one of the world’s most climate-vulnerable regions.

Aquí me Quedo, directed by @kalinsteen and @louelena.b, tells that story. 

Aquí me Quedo is part of the Human Nature film series with @earthalliance, reconnecting humans with the natural world. You can watch it now using the link in our bio.

Every year, tens of thousands of people pass through Guatemala’s Petén forest hoping to reach the US. Baltazar Girón stopped in his tracks, and started again. He founded @solyverdeorg: a grassroots initiative restoring ecosystems and strengthening communities across one of the world’s most climate-vulnerable regions.

Aquí me Quedo, directed by @kalinsteen and @louelena.b, tells that story. 

Aquí me Quedo is part of the Human Nature film series with @earthalliance, reconnecting humans with the natural world. You can watch it now using the link in our bio.

Every year, tens of thousands of people pass through Guatemala’s Petén forest hoping to reach the US. Baltazar Girón stopped in his tracks, and started again. He founded @solyverdeorg: a grassroots initiative restoring ecosystems and strengthening communities across one of the world’s most climate-vulnerable regions.

Aquí me Quedo, directed by @kalinsteen and @louelena.b, tells that story. 

Aquí me Quedo is part of the Human Nature film series with @earthalliance, reconnecting humans with the natural world. You can watch it now using the link in our bio.

Every year, tens of thousands of people pass through Guatemala’s Petén forest hoping to reach the US. Baltazar Girón stopped in his tracks, and started again. He founded @solyverdeorg: a grassroots initiative restoring ecosystems and strengthening communities across one of the world’s most climate-vulnerable regions.

Aquí me Quedo, directed by @kalinsteen and @louelena.b, tells that story. 

Aquí me Quedo is part of the Human Nature film series with @earthalliance, reconnecting humans with the natural world. You can watch it now using the link in our bio.

Every year, tens of thousands of people pass through Guatemala’s Petén forest hoping to reach the US. Baltazar Girón stopped in his tracks, and started again. He founded @solyverdeorg: a grassroots initiative restoring ecosystems and strengthening communities across one of the world’s most climate-vulnerable regions.

Aquí me Quedo, directed by @kalinsteen and @louelena.b, tells that story. 

Aquí me Quedo is part of the Human Nature film series with @earthalliance, reconnecting humans with the natural world. You can watch it now using the link in our bio.

Every year, tens of thousands of people pass through Guatemala’s Petén forest hoping to reach the US. Baltazar Girón stopped in his tracks, and started again. He founded @solyverdeorg: a grassroots initiative restoring ecosystems and strengthening communities across one of the world’s most climate-vulnerable regions.

Aquí me Quedo, directed by @kalinsteen and @louelena.b, tells that story. 

Aquí me Quedo is part of the Human Nature film series with @earthalliance, reconnecting humans with the natural world. You can watch it now using the link in our bio.

Every year, tens of thousands of people pass through Guatemala’s Petén forest hoping to reach the US. Baltazar Girón stopped in his tracks, and started again. He founded @solyverdeorg: a grassroots initiative restoring ecosystems and strengthening communities across one of the world’s most climate-vulnerable regions.

Aquí me Quedo, directed by @kalinsteen and @louelena.b, tells that story. 

Aquí me Quedo is part of the Human Nature film series with @earthalliance, reconnecting humans with the natural world. You can watch it now using the link in our bio.

Every year, tens of thousands of people pass through Guatemala’s Petén forest hoping to reach the US. Baltazar Girón stopped in his tracks, and started again. He founded @solyverdeorg: a grassroots initiative restoring ecosystems and strengthening communities across one of the world’s most climate-vulnerable regions.

Aquí me Quedo, directed by @kalinsteen and @louelena.b, tells that story. 

Aquí me Quedo is part of the Human Nature film series with @earthalliance, reconnecting humans with the natural world. You can watch it now using the link in our bio.

At the forgotten frontlines of climate collapse, Baltazar shows what it means to stay, turning hopelessness into @solyverdeorg, a community project rooted in resistance and reconnection with the land.

This powerful film reframes migration not only as departure, but as a radical fight to remain.

Aquí Me Quedo is the second film in Human Nature, a series in collaboration with @earthalliance on the interconnectedness between humans and the natural world.

CREDITS
Earthrise Executive Producer @aliceaedy
Earthrise Producer @Jengelin + @chloeputtock
Earthrise Art Direction @lilianasaldanha

Directors @kalinsteen + @louelena.b
Director of Photography @kalinsteen
Edit @ess.s.s
Producer @louelena.b
Exec Producer @solyverdeorg

Colour by @okaystudio
Colourist @alexo.colour
Colour Producer @alexsblowers
Composer @tomwillhill
Flute Composition and Performance Baltazar Matute Girón

In 2021 I met Lou, she discovered my family’s work, and visited for a month for her research at the University of Cambridge. A year later, she asked if I wanted to come with her on her trip back to Guatemala to film a short promotional piece about this man and his son reforesting the land. About a month in, we realized we wanted to take this project much more seriously. 4 years later, and we’re continually trying to secure money to edit and publish it as a 25 minute documentary. While I had already considered myself a cinematographer, neither of us had directed a narrative documentary prior to this. Being almost completely self funded, we had little to no money at all times, but managed to film so much with the limited equipment and resources that we had. Some stories can only be told by not having an agenda to follow.

Over the 5 months I worked on-site, I made some of the best longest lasting friendships of my life. Especially Lou, the other half of this film, co-director, producer, and one of my closest friends that I have loved sharing every moment of this experience with.

Shortly after this post, on April 29, you’ll see a two minute cut, titled Aqui me Quedo, made from our existing footage. This was made possible through a grant by @earthrise.studio and @earthalliance. It’s only a snippet of the story, but to have anything from the film published at this scale is monumental for us, and we hope it will be stepping stone toward finishing the full piece.

We have recently just put together a simple website, where you can get a sense of the film. It will live in my bio for a while, or can be found through my website. If you think you can help us in anyway, please give it a look or write us!

In 2021 I met Lou, she discovered my family’s work, and visited for a month for her research at the University of Cambridge. A year later, she asked if I wanted to come with her on her trip back to Guatemala to film a short promotional piece about this man and his son reforesting the land. About a month in, we realized we wanted to take this project much more seriously. 4 years later, and we’re continually trying to secure money to edit and publish it as a 25 minute documentary. While I had already considered myself a cinematographer, neither of us had directed a narrative documentary prior to this. Being almost completely self funded, we had little to no money at all times, but managed to film so much with the limited equipment and resources that we had. Some stories can only be told by not having an agenda to follow.

Over the 5 months I worked on-site, I made some of the best longest lasting friendships of my life. Especially Lou, the other half of this film, co-director, producer, and one of my closest friends that I have loved sharing every moment of this experience with.

Shortly after this post, on April 29, you’ll see a two minute cut, titled Aqui me Quedo, made from our existing footage. This was made possible through a grant by @earthrise.studio and @earthalliance. It’s only a snippet of the story, but to have anything from the film published at this scale is monumental for us, and we hope it will be stepping stone toward finishing the full piece.

We have recently just put together a simple website, where you can get a sense of the film. It will live in my bio for a while, or can be found through my website. If you think you can help us in anyway, please give it a look or write us!

In 2021 I met Lou, she discovered my family’s work, and visited for a month for her research at the University of Cambridge. A year later, she asked if I wanted to come with her on her trip back to Guatemala to film a short promotional piece about this man and his son reforesting the land. About a month in, we realized we wanted to take this project much more seriously. 4 years later, and we’re continually trying to secure money to edit and publish it as a 25 minute documentary. While I had already considered myself a cinematographer, neither of us had directed a narrative documentary prior to this. Being almost completely self funded, we had little to no money at all times, but managed to film so much with the limited equipment and resources that we had. Some stories can only be told by not having an agenda to follow.

Over the 5 months I worked on-site, I made some of the best longest lasting friendships of my life. Especially Lou, the other half of this film, co-director, producer, and one of my closest friends that I have loved sharing every moment of this experience with.

Shortly after this post, on April 29, you’ll see a two minute cut, titled Aqui me Quedo, made from our existing footage. This was made possible through a grant by @earthrise.studio and @earthalliance. It’s only a snippet of the story, but to have anything from the film published at this scale is monumental for us, and we hope it will be stepping stone toward finishing the full piece.

We have recently just put together a simple website, where you can get a sense of the film. It will live in my bio for a while, or can be found through my website. If you think you can help us in anyway, please give it a look or write us!

In 2021 I met Lou, she discovered my family’s work, and visited for a month for her research at the University of Cambridge. A year later, she asked if I wanted to come with her on her trip back to Guatemala to film a short promotional piece about this man and his son reforesting the land. About a month in, we realized we wanted to take this project much more seriously. 4 years later, and we’re continually trying to secure money to edit and publish it as a 25 minute documentary. While I had already considered myself a cinematographer, neither of us had directed a narrative documentary prior to this. Being almost completely self funded, we had little to no money at all times, but managed to film so much with the limited equipment and resources that we had. Some stories can only be told by not having an agenda to follow.

Over the 5 months I worked on-site, I made some of the best longest lasting friendships of my life. Especially Lou, the other half of this film, co-director, producer, and one of my closest friends that I have loved sharing every moment of this experience with.

Shortly after this post, on April 29, you’ll see a two minute cut, titled Aqui me Quedo, made from our existing footage. This was made possible through a grant by @earthrise.studio and @earthalliance. It’s only a snippet of the story, but to have anything from the film published at this scale is monumental for us, and we hope it will be stepping stone toward finishing the full piece.

We have recently just put together a simple website, where you can get a sense of the film. It will live in my bio for a while, or can be found through my website. If you think you can help us in anyway, please give it a look or write us!

In 2021 I met Lou, she discovered my family’s work, and visited for a month for her research at the University of Cambridge. A year later, she asked if I wanted to come with her on her trip back to Guatemala to film a short promotional piece about this man and his son reforesting the land. About a month in, we realized we wanted to take this project much more seriously. 4 years later, and we’re continually trying to secure money to edit and publish it as a 25 minute documentary. While I had already considered myself a cinematographer, neither of us had directed a narrative documentary prior to this. Being almost completely self funded, we had little to no money at all times, but managed to film so much with the limited equipment and resources that we had. Some stories can only be told by not having an agenda to follow.

Over the 5 months I worked on-site, I made some of the best longest lasting friendships of my life. Especially Lou, the other half of this film, co-director, producer, and one of my closest friends that I have loved sharing every moment of this experience with.

Shortly after this post, on April 29, you’ll see a two minute cut, titled Aqui me Quedo, made from our existing footage. This was made possible through a grant by @earthrise.studio and @earthalliance. It’s only a snippet of the story, but to have anything from the film published at this scale is monumental for us, and we hope it will be stepping stone toward finishing the full piece.

We have recently just put together a simple website, where you can get a sense of the film. It will live in my bio for a while, or can be found through my website. If you think you can help us in anyway, please give it a look or write us!

In 2021 I met Lou, she discovered my family’s work, and visited for a month for her research at the University of Cambridge. A year later, she asked if I wanted to come with her on her trip back to Guatemala to film a short promotional piece about this man and his son reforesting the land. About a month in, we realized we wanted to take this project much more seriously. 4 years later, and we’re continually trying to secure money to edit and publish it as a 25 minute documentary. While I had already considered myself a cinematographer, neither of us had directed a narrative documentary prior to this. Being almost completely self funded, we had little to no money at all times, but managed to film so much with the limited equipment and resources that we had. Some stories can only be told by not having an agenda to follow.

Over the 5 months I worked on-site, I made some of the best longest lasting friendships of my life. Especially Lou, the other half of this film, co-director, producer, and one of my closest friends that I have loved sharing every moment of this experience with.

Shortly after this post, on April 29, you’ll see a two minute cut, titled Aqui me Quedo, made from our existing footage. This was made possible through a grant by @earthrise.studio and @earthalliance. It’s only a snippet of the story, but to have anything from the film published at this scale is monumental for us, and we hope it will be stepping stone toward finishing the full piece.

We have recently just put together a simple website, where you can get a sense of the film. It will live in my bio for a while, or can be found through my website. If you think you can help us in anyway, please give it a look or write us!

In 2021 I met Lou, she discovered my family’s work, and visited for a month for her research at the University of Cambridge. A year later, she asked if I wanted to come with her on her trip back to Guatemala to film a short promotional piece about this man and his son reforesting the land. About a month in, we realized we wanted to take this project much more seriously. 4 years later, and we’re continually trying to secure money to edit and publish it as a 25 minute documentary. While I had already considered myself a cinematographer, neither of us had directed a narrative documentary prior to this. Being almost completely self funded, we had little to no money at all times, but managed to film so much with the limited equipment and resources that we had. Some stories can only be told by not having an agenda to follow.

Over the 5 months I worked on-site, I made some of the best longest lasting friendships of my life. Especially Lou, the other half of this film, co-director, producer, and one of my closest friends that I have loved sharing every moment of this experience with.

Shortly after this post, on April 29, you’ll see a two minute cut, titled Aqui me Quedo, made from our existing footage. This was made possible through a grant by @earthrise.studio and @earthalliance. It’s only a snippet of the story, but to have anything from the film published at this scale is monumental for us, and we hope it will be stepping stone toward finishing the full piece.

We have recently just put together a simple website, where you can get a sense of the film. It will live in my bio for a while, or can be found through my website. If you think you can help us in anyway, please give it a look or write us!

In 2021 I met Lou, she discovered my family’s work, and visited for a month for her research at the University of Cambridge. A year later, she asked if I wanted to come with her on her trip back to Guatemala to film a short promotional piece about this man and his son reforesting the land. About a month in, we realized we wanted to take this project much more seriously. 4 years later, and we’re continually trying to secure money to edit and publish it as a 25 minute documentary. While I had already considered myself a cinematographer, neither of us had directed a narrative documentary prior to this. Being almost completely self funded, we had little to no money at all times, but managed to film so much with the limited equipment and resources that we had. Some stories can only be told by not having an agenda to follow.

Over the 5 months I worked on-site, I made some of the best longest lasting friendships of my life. Especially Lou, the other half of this film, co-director, producer, and one of my closest friends that I have loved sharing every moment of this experience with.

Shortly after this post, on April 29, you’ll see a two minute cut, titled Aqui me Quedo, made from our existing footage. This was made possible through a grant by @earthrise.studio and @earthalliance. It’s only a snippet of the story, but to have anything from the film published at this scale is monumental for us, and we hope it will be stepping stone toward finishing the full piece.

We have recently just put together a simple website, where you can get a sense of the film. It will live in my bio for a while, or can be found through my website. If you think you can help us in anyway, please give it a look or write us!

In 2021 I met Lou, she discovered my family’s work, and visited for a month for her research at the University of Cambridge. A year later, she asked if I wanted to come with her on her trip back to Guatemala to film a short promotional piece about this man and his son reforesting the land. About a month in, we realized we wanted to take this project much more seriously. 4 years later, and we’re continually trying to secure money to edit and publish it as a 25 minute documentary. While I had already considered myself a cinematographer, neither of us had directed a narrative documentary prior to this. Being almost completely self funded, we had little to no money at all times, but managed to film so much with the limited equipment and resources that we had. Some stories can only be told by not having an agenda to follow.

Over the 5 months I worked on-site, I made some of the best longest lasting friendships of my life. Especially Lou, the other half of this film, co-director, producer, and one of my closest friends that I have loved sharing every moment of this experience with.

Shortly after this post, on April 29, you’ll see a two minute cut, titled Aqui me Quedo, made from our existing footage. This was made possible through a grant by @earthrise.studio and @earthalliance. It’s only a snippet of the story, but to have anything from the film published at this scale is monumental for us, and we hope it will be stepping stone toward finishing the full piece.

We have recently just put together a simple website, where you can get a sense of the film. It will live in my bio for a while, or can be found through my website. If you think you can help us in anyway, please give it a look or write us!

In 2021 I met Lou, she discovered my family’s work, and visited for a month for her research at the University of Cambridge. A year later, she asked if I wanted to come with her on her trip back to Guatemala to film a short promotional piece about this man and his son reforesting the land. About a month in, we realized we wanted to take this project much more seriously. 4 years later, and we’re continually trying to secure money to edit and publish it as a 25 minute documentary. While I had already considered myself a cinematographer, neither of us had directed a narrative documentary prior to this. Being almost completely self funded, we had little to no money at all times, but managed to film so much with the limited equipment and resources that we had. Some stories can only be told by not having an agenda to follow.

Over the 5 months I worked on-site, I made some of the best longest lasting friendships of my life. Especially Lou, the other half of this film, co-director, producer, and one of my closest friends that I have loved sharing every moment of this experience with.

Shortly after this post, on April 29, you’ll see a two minute cut, titled Aqui me Quedo, made from our existing footage. This was made possible through a grant by @earthrise.studio and @earthalliance. It’s only a snippet of the story, but to have anything from the film published at this scale is monumental for us, and we hope it will be stepping stone toward finishing the full piece.

We have recently just put together a simple website, where you can get a sense of the film. It will live in my bio for a while, or can be found through my website. If you think you can help us in anyway, please give it a look or write us!

In 2021 I met Lou, she discovered my family’s work, and visited for a month for her research at the University of Cambridge. A year later, she asked if I wanted to come with her on her trip back to Guatemala to film a short promotional piece about this man and his son reforesting the land. About a month in, we realized we wanted to take this project much more seriously. 4 years later, and we’re continually trying to secure money to edit and publish it as a 25 minute documentary. While I had already considered myself a cinematographer, neither of us had directed a narrative documentary prior to this. Being almost completely self funded, we had little to no money at all times, but managed to film so much with the limited equipment and resources that we had. Some stories can only be told by not having an agenda to follow.

Over the 5 months I worked on-site, I made some of the best longest lasting friendships of my life. Especially Lou, the other half of this film, co-director, producer, and one of my closest friends that I have loved sharing every moment of this experience with.

Shortly after this post, on April 29, you’ll see a two minute cut, titled Aqui me Quedo, made from our existing footage. This was made possible through a grant by @earthrise.studio and @earthalliance. It’s only a snippet of the story, but to have anything from the film published at this scale is monumental for us, and we hope it will be stepping stone toward finishing the full piece.

We have recently just put together a simple website, where you can get a sense of the film. It will live in my bio for a while, or can be found through my website. If you think you can help us in anyway, please give it a look or write us!

In 2021 I met Lou, she discovered my family’s work, and visited for a month for her research at the University of Cambridge. A year later, she asked if I wanted to come with her on her trip back to Guatemala to film a short promotional piece about this man and his son reforesting the land. About a month in, we realized we wanted to take this project much more seriously. 4 years later, and we’re continually trying to secure money to edit and publish it as a 25 minute documentary. While I had already considered myself a cinematographer, neither of us had directed a narrative documentary prior to this. Being almost completely self funded, we had little to no money at all times, but managed to film so much with the limited equipment and resources that we had. Some stories can only be told by not having an agenda to follow.

Over the 5 months I worked on-site, I made some of the best longest lasting friendships of my life. Especially Lou, the other half of this film, co-director, producer, and one of my closest friends that I have loved sharing every moment of this experience with.

Shortly after this post, on April 29, you’ll see a two minute cut, titled Aqui me Quedo, made from our existing footage. This was made possible through a grant by @earthrise.studio and @earthalliance. It’s only a snippet of the story, but to have anything from the film published at this scale is monumental for us, and we hope it will be stepping stone toward finishing the full piece.

We have recently just put together a simple website, where you can get a sense of the film. It will live in my bio for a while, or can be found through my website. If you think you can help us in anyway, please give it a look or write us!

In 2021 I met Lou, she discovered my family’s work, and visited for a month for her research at the University of Cambridge. A year later, she asked if I wanted to come with her on her trip back to Guatemala to film a short promotional piece about this man and his son reforesting the land. About a month in, we realized we wanted to take this project much more seriously. 4 years later, and we’re continually trying to secure money to edit and publish it as a 25 minute documentary. While I had already considered myself a cinematographer, neither of us had directed a narrative documentary prior to this. Being almost completely self funded, we had little to no money at all times, but managed to film so much with the limited equipment and resources that we had. Some stories can only be told by not having an agenda to follow.

Over the 5 months I worked on-site, I made some of the best longest lasting friendships of my life. Especially Lou, the other half of this film, co-director, producer, and one of my closest friends that I have loved sharing every moment of this experience with.

Shortly after this post, on April 29, you’ll see a two minute cut, titled Aqui me Quedo, made from our existing footage. This was made possible through a grant by @earthrise.studio and @earthalliance. It’s only a snippet of the story, but to have anything from the film published at this scale is monumental for us, and we hope it will be stepping stone toward finishing the full piece.

We have recently just put together a simple website, where you can get a sense of the film. It will live in my bio for a while, or can be found through my website. If you think you can help us in anyway, please give it a look or write us!

In 2021 I met Lou, she discovered my family’s work, and visited for a month for her research at the University of Cambridge. A year later, she asked if I wanted to come with her on her trip back to Guatemala to film a short promotional piece about this man and his son reforesting the land. About a month in, we realized we wanted to take this project much more seriously. 4 years later, and we’re continually trying to secure money to edit and publish it as a 25 minute documentary. While I had already considered myself a cinematographer, neither of us had directed a narrative documentary prior to this. Being almost completely self funded, we had little to no money at all times, but managed to film so much with the limited equipment and resources that we had. Some stories can only be told by not having an agenda to follow.

Over the 5 months I worked on-site, I made some of the best longest lasting friendships of my life. Especially Lou, the other half of this film, co-director, producer, and one of my closest friends that I have loved sharing every moment of this experience with.

Shortly after this post, on April 29, you’ll see a two minute cut, titled Aqui me Quedo, made from our existing footage. This was made possible through a grant by @earthrise.studio and @earthalliance. It’s only a snippet of the story, but to have anything from the film published at this scale is monumental for us, and we hope it will be stepping stone toward finishing the full piece.

We have recently just put together a simple website, where you can get a sense of the film. It will live in my bio for a while, or can be found through my website. If you think you can help us in anyway, please give it a look or write us!

In 2021 I met Lou, she discovered my family’s work, and visited for a month for her research at the University of Cambridge. A year later, she asked if I wanted to come with her on her trip back to Guatemala to film a short promotional piece about this man and his son reforesting the land. About a month in, we realized we wanted to take this project much more seriously. 4 years later, and we’re continually trying to secure money to edit and publish it as a 25 minute documentary. While I had already considered myself a cinematographer, neither of us had directed a narrative documentary prior to this. Being almost completely self funded, we had little to no money at all times, but managed to film so much with the limited equipment and resources that we had. Some stories can only be told by not having an agenda to follow.

Over the 5 months I worked on-site, I made some of the best longest lasting friendships of my life. Especially Lou, the other half of this film, co-director, producer, and one of my closest friends that I have loved sharing every moment of this experience with.

Shortly after this post, on April 29, you’ll see a two minute cut, titled Aqui me Quedo, made from our existing footage. This was made possible through a grant by @earthrise.studio and @earthalliance. It’s only a snippet of the story, but to have anything from the film published at this scale is monumental for us, and we hope it will be stepping stone toward finishing the full piece.

We have recently just put together a simple website, where you can get a sense of the film. It will live in my bio for a while, or can be found through my website. If you think you can help us in anyway, please give it a look or write us!

In 2021 I met Lou, she discovered my family’s work, and visited for a month for her research at the University of Cambridge. A year later, she asked if I wanted to come with her on her trip back to Guatemala to film a short promotional piece about this man and his son reforesting the land. About a month in, we realized we wanted to take this project much more seriously. 4 years later, and we’re continually trying to secure money to edit and publish it as a 25 minute documentary. While I had already considered myself a cinematographer, neither of us had directed a narrative documentary prior to this. Being almost completely self funded, we had little to no money at all times, but managed to film so much with the limited equipment and resources that we had. Some stories can only be told by not having an agenda to follow.

Over the 5 months I worked on-site, I made some of the best longest lasting friendships of my life. Especially Lou, the other half of this film, co-director, producer, and one of my closest friends that I have loved sharing every moment of this experience with.

Shortly after this post, on April 29, you’ll see a two minute cut, titled Aqui me Quedo, made from our existing footage. This was made possible through a grant by @earthrise.studio and @earthalliance. It’s only a snippet of the story, but to have anything from the film published at this scale is monumental for us, and we hope it will be stepping stone toward finishing the full piece.

We have recently just put together a simple website, where you can get a sense of the film. It will live in my bio for a while, or can be found through my website. If you think you can help us in anyway, please give it a look or write us!

In 2021 I met Lou, she discovered my family’s work, and visited for a month for her research at the University of Cambridge. A year later, she asked if I wanted to come with her on her trip back to Guatemala to film a short promotional piece about this man and his son reforesting the land. About a month in, we realized we wanted to take this project much more seriously. 4 years later, and we’re continually trying to secure money to edit and publish it as a 25 minute documentary. While I had already considered myself a cinematographer, neither of us had directed a narrative documentary prior to this. Being almost completely self funded, we had little to no money at all times, but managed to film so much with the limited equipment and resources that we had. Some stories can only be told by not having an agenda to follow.

Over the 5 months I worked on-site, I made some of the best longest lasting friendships of my life. Especially Lou, the other half of this film, co-director, producer, and one of my closest friends that I have loved sharing every moment of this experience with.

Shortly after this post, on April 29, you’ll see a two minute cut, titled Aqui me Quedo, made from our existing footage. This was made possible through a grant by @earthrise.studio and @earthalliance. It’s only a snippet of the story, but to have anything from the film published at this scale is monumental for us, and we hope it will be stepping stone toward finishing the full piece.

We have recently just put together a simple website, where you can get a sense of the film. It will live in my bio for a while, or can be found through my website. If you think you can help us in anyway, please give it a look or write us!

In 2021 I met Lou, she discovered my family’s work, and visited for a month for her research at the University of Cambridge. A year later, she asked if I wanted to come with her on her trip back to Guatemala to film a short promotional piece about this man and his son reforesting the land. About a month in, we realized we wanted to take this project much more seriously. 4 years later, and we’re continually trying to secure money to edit and publish it as a 25 minute documentary. While I had already considered myself a cinematographer, neither of us had directed a narrative documentary prior to this. Being almost completely self funded, we had little to no money at all times, but managed to film so much with the limited equipment and resources that we had. Some stories can only be told by not having an agenda to follow.

Over the 5 months I worked on-site, I made some of the best longest lasting friendships of my life. Especially Lou, the other half of this film, co-director, producer, and one of my closest friends that I have loved sharing every moment of this experience with.

Shortly after this post, on April 29, you’ll see a two minute cut, titled Aqui me Quedo, made from our existing footage. This was made possible through a grant by @earthrise.studio and @earthalliance. It’s only a snippet of the story, but to have anything from the film published at this scale is monumental for us, and we hope it will be stepping stone toward finishing the full piece.

We have recently just put together a simple website, where you can get a sense of the film. It will live in my bio for a while, or can be found through my website. If you think you can help us in anyway, please give it a look or write us!

In 2021 I met Lou, she discovered my family’s work, and visited for a month for her research at the University of Cambridge. A year later, she asked if I wanted to come with her on her trip back to Guatemala to film a short promotional piece about this man and his son reforesting the land. About a month in, we realized we wanted to take this project much more seriously. 4 years later, and we’re continually trying to secure money to edit and publish it as a 25 minute documentary. While I had already considered myself a cinematographer, neither of us had directed a narrative documentary prior to this. Being almost completely self funded, we had little to no money at all times, but managed to film so much with the limited equipment and resources that we had. Some stories can only be told by not having an agenda to follow.

Over the 5 months I worked on-site, I made some of the best longest lasting friendships of my life. Especially Lou, the other half of this film, co-director, producer, and one of my closest friends that I have loved sharing every moment of this experience with.

Shortly after this post, on April 29, you’ll see a two minute cut, titled Aqui me Quedo, made from our existing footage. This was made possible through a grant by @earthrise.studio and @earthalliance. It’s only a snippet of the story, but to have anything from the film published at this scale is monumental for us, and we hope it will be stepping stone toward finishing the full piece.

We have recently just put together a simple website, where you can get a sense of the film. It will live in my bio for a while, or can be found through my website. If you think you can help us in anyway, please give it a look or write us!

In 2021 I met Lou, she discovered my family’s work, and visited for a month for her research at the University of Cambridge. A year later, she asked if I wanted to come with her on her trip back to Guatemala to film a short promotional piece about this man and his son reforesting the land. About a month in, we realized we wanted to take this project much more seriously. 4 years later, and we’re continually trying to secure money to edit and publish it as a 25 minute documentary. While I had already considered myself a cinematographer, neither of us had directed a narrative documentary prior to this. Being almost completely self funded, we had little to no money at all times, but managed to film so much with the limited equipment and resources that we had. Some stories can only be told by not having an agenda to follow.

Over the 5 months I worked on-site, I made some of the best longest lasting friendships of my life. Especially Lou, the other half of this film, co-director, producer, and one of my closest friends that I have loved sharing every moment of this experience with.

Shortly after this post, on April 29, you’ll see a two minute cut, titled Aqui me Quedo, made from our existing footage. This was made possible through a grant by @earthrise.studio and @earthalliance. It’s only a snippet of the story, but to have anything from the film published at this scale is monumental for us, and we hope it will be stepping stone toward finishing the full piece.

We have recently just put together a simple website, where you can get a sense of the film. It will live in my bio for a while, or can be found through my website. If you think you can help us in anyway, please give it a look or write us!

Last year, I would look at the moon, and watch how it would fade and grow. Knowing each cycle counted closer to our shoot date, I kept staring at it. Some days I would look out and it would give me anxiety, other days it would bring a smile to my face. January 2nd of this year was a smile.

Near the start of last year, I received an email asking if I wanted to shoot this short film. I had recently sworn to myself that I wouldn’t take on anymore projects until I had more capacity for them. A big part of myself wanted to stick to that, initially I almost said no, but the script and vision was great; I had a feeling this could finally be a narrative film that I could put my all into as a cinematographer. Turns out my instinct was right. Working with Clayton Samuels, writer, director, was everything I hoped it to be. Neither one of us thought we’d be working on the short for so long, but we set standards and stayed true to them, which meant waiting for what we needed.

I remain endlessly thankful to all my friends in the production that pulled through for me on this one, especially the incredibly talented @andriushahn and @miguelpineda99

See @father_horrorshortfilm for further updates.

Set photos: @elvio.anderson

Last year, I would look at the moon, and watch how it would fade and grow. Knowing each cycle counted closer to our shoot date, I kept staring at it. Some days I would look out and it would give me anxiety, other days it would bring a smile to my face. January 2nd of this year was a smile.

Near the start of last year, I received an email asking if I wanted to shoot this short film. I had recently sworn to myself that I wouldn’t take on anymore projects until I had more capacity for them. A big part of myself wanted to stick to that, initially I almost said no, but the script and vision was great; I had a feeling this could finally be a narrative film that I could put my all into as a cinematographer. Turns out my instinct was right. Working with Clayton Samuels, writer, director, was everything I hoped it to be. Neither one of us thought we’d be working on the short for so long, but we set standards and stayed true to them, which meant waiting for what we needed.

I remain endlessly thankful to all my friends in the production that pulled through for me on this one, especially the incredibly talented @andriushahn and @miguelpineda99

See @father_horrorshortfilm for further updates.

Set photos: @elvio.anderson

Last year, I would look at the moon, and watch how it would fade and grow. Knowing each cycle counted closer to our shoot date, I kept staring at it. Some days I would look out and it would give me anxiety, other days it would bring a smile to my face. January 2nd of this year was a smile.

Near the start of last year, I received an email asking if I wanted to shoot this short film. I had recently sworn to myself that I wouldn’t take on anymore projects until I had more capacity for them. A big part of myself wanted to stick to that, initially I almost said no, but the script and vision was great; I had a feeling this could finally be a narrative film that I could put my all into as a cinematographer. Turns out my instinct was right. Working with Clayton Samuels, writer, director, was everything I hoped it to be. Neither one of us thought we’d be working on the short for so long, but we set standards and stayed true to them, which meant waiting for what we needed.

I remain endlessly thankful to all my friends in the production that pulled through for me on this one, especially the incredibly talented @andriushahn and @miguelpineda99

See @father_horrorshortfilm for further updates.

Set photos: @elvio.anderson

Last year, I would look at the moon, and watch how it would fade and grow. Knowing each cycle counted closer to our shoot date, I kept staring at it. Some days I would look out and it would give me anxiety, other days it would bring a smile to my face. January 2nd of this year was a smile.

Near the start of last year, I received an email asking if I wanted to shoot this short film. I had recently sworn to myself that I wouldn’t take on anymore projects until I had more capacity for them. A big part of myself wanted to stick to that, initially I almost said no, but the script and vision was great; I had a feeling this could finally be a narrative film that I could put my all into as a cinematographer. Turns out my instinct was right. Working with Clayton Samuels, writer, director, was everything I hoped it to be. Neither one of us thought we’d be working on the short for so long, but we set standards and stayed true to them, which meant waiting for what we needed.

I remain endlessly thankful to all my friends in the production that pulled through for me on this one, especially the incredibly talented @andriushahn and @miguelpineda99

See @father_horrorshortfilm for further updates.

Set photos: @elvio.anderson

Last year, I would look at the moon, and watch how it would fade and grow. Knowing each cycle counted closer to our shoot date, I kept staring at it. Some days I would look out and it would give me anxiety, other days it would bring a smile to my face. January 2nd of this year was a smile.

Near the start of last year, I received an email asking if I wanted to shoot this short film. I had recently sworn to myself that I wouldn’t take on anymore projects until I had more capacity for them. A big part of myself wanted to stick to that, initially I almost said no, but the script and vision was great; I had a feeling this could finally be a narrative film that I could put my all into as a cinematographer. Turns out my instinct was right. Working with Clayton Samuels, writer, director, was everything I hoped it to be. Neither one of us thought we’d be working on the short for so long, but we set standards and stayed true to them, which meant waiting for what we needed.

I remain endlessly thankful to all my friends in the production that pulled through for me on this one, especially the incredibly talented @andriushahn and @miguelpineda99

See @father_horrorshortfilm for further updates.

Set photos: @elvio.anderson

Last year, I would look at the moon, and watch how it would fade and grow. Knowing each cycle counted closer to our shoot date, I kept staring at it. Some days I would look out and it would give me anxiety, other days it would bring a smile to my face. January 2nd of this year was a smile.

Near the start of last year, I received an email asking if I wanted to shoot this short film. I had recently sworn to myself that I wouldn’t take on anymore projects until I had more capacity for them. A big part of myself wanted to stick to that, initially I almost said no, but the script and vision was great; I had a feeling this could finally be a narrative film that I could put my all into as a cinematographer. Turns out my instinct was right. Working with Clayton Samuels, writer, director, was everything I hoped it to be. Neither one of us thought we’d be working on the short for so long, but we set standards and stayed true to them, which meant waiting for what we needed.

I remain endlessly thankful to all my friends in the production that pulled through for me on this one, especially the incredibly talented @andriushahn and @miguelpineda99

See @father_horrorshortfilm for further updates.

Set photos: @elvio.anderson

Last year, I would look at the moon, and watch how it would fade and grow. Knowing each cycle counted closer to our shoot date, I kept staring at it. Some days I would look out and it would give me anxiety, other days it would bring a smile to my face. January 2nd of this year was a smile.

Near the start of last year, I received an email asking if I wanted to shoot this short film. I had recently sworn to myself that I wouldn’t take on anymore projects until I had more capacity for them. A big part of myself wanted to stick to that, initially I almost said no, but the script and vision was great; I had a feeling this could finally be a narrative film that I could put my all into as a cinematographer. Turns out my instinct was right. Working with Clayton Samuels, writer, director, was everything I hoped it to be. Neither one of us thought we’d be working on the short for so long, but we set standards and stayed true to them, which meant waiting for what we needed.

I remain endlessly thankful to all my friends in the production that pulled through for me on this one, especially the incredibly talented @andriushahn and @miguelpineda99

See @father_horrorshortfilm for further updates.

Set photos: @elvio.anderson

Last year, I would look at the moon, and watch how it would fade and grow. Knowing each cycle counted closer to our shoot date, I kept staring at it. Some days I would look out and it would give me anxiety, other days it would bring a smile to my face. January 2nd of this year was a smile.

Near the start of last year, I received an email asking if I wanted to shoot this short film. I had recently sworn to myself that I wouldn’t take on anymore projects until I had more capacity for them. A big part of myself wanted to stick to that, initially I almost said no, but the script and vision was great; I had a feeling this could finally be a narrative film that I could put my all into as a cinematographer. Turns out my instinct was right. Working with Clayton Samuels, writer, director, was everything I hoped it to be. Neither one of us thought we’d be working on the short for so long, but we set standards and stayed true to them, which meant waiting for what we needed.

I remain endlessly thankful to all my friends in the production that pulled through for me on this one, especially the incredibly talented @andriushahn and @miguelpineda99

See @father_horrorshortfilm for further updates.

Set photos: @elvio.anderson

Last year, I would look at the moon, and watch how it would fade and grow. Knowing each cycle counted closer to our shoot date, I kept staring at it. Some days I would look out and it would give me anxiety, other days it would bring a smile to my face. January 2nd of this year was a smile.

Near the start of last year, I received an email asking if I wanted to shoot this short film. I had recently sworn to myself that I wouldn’t take on anymore projects until I had more capacity for them. A big part of myself wanted to stick to that, initially I almost said no, but the script and vision was great; I had a feeling this could finally be a narrative film that I could put my all into as a cinematographer. Turns out my instinct was right. Working with Clayton Samuels, writer, director, was everything I hoped it to be. Neither one of us thought we’d be working on the short for so long, but we set standards and stayed true to them, which meant waiting for what we needed.

I remain endlessly thankful to all my friends in the production that pulled through for me on this one, especially the incredibly talented @andriushahn and @miguelpineda99

See @father_horrorshortfilm for further updates.

Set photos: @elvio.anderson

Last year, I would look at the moon, and watch how it would fade and grow. Knowing each cycle counted closer to our shoot date, I kept staring at it. Some days I would look out and it would give me anxiety, other days it would bring a smile to my face. January 2nd of this year was a smile.

Near the start of last year, I received an email asking if I wanted to shoot this short film. I had recently sworn to myself that I wouldn’t take on anymore projects until I had more capacity for them. A big part of myself wanted to stick to that, initially I almost said no, but the script and vision was great; I had a feeling this could finally be a narrative film that I could put my all into as a cinematographer. Turns out my instinct was right. Working with Clayton Samuels, writer, director, was everything I hoped it to be. Neither one of us thought we’d be working on the short for so long, but we set standards and stayed true to them, which meant waiting for what we needed.

I remain endlessly thankful to all my friends in the production that pulled through for me on this one, especially the incredibly talented @andriushahn and @miguelpineda99

See @father_horrorshortfilm for further updates.

Set photos: @elvio.anderson

Last year, I would look at the moon, and watch how it would fade and grow. Knowing each cycle counted closer to our shoot date, I kept staring at it. Some days I would look out and it would give me anxiety, other days it would bring a smile to my face. January 2nd of this year was a smile.

Near the start of last year, I received an email asking if I wanted to shoot this short film. I had recently sworn to myself that I wouldn’t take on anymore projects until I had more capacity for them. A big part of myself wanted to stick to that, initially I almost said no, but the script and vision was great; I had a feeling this could finally be a narrative film that I could put my all into as a cinematographer. Turns out my instinct was right. Working with Clayton Samuels, writer, director, was everything I hoped it to be. Neither one of us thought we’d be working on the short for so long, but we set standards and stayed true to them, which meant waiting for what we needed.

I remain endlessly thankful to all my friends in the production that pulled through for me on this one, especially the incredibly talented @andriushahn and @miguelpineda99

See @father_horrorshortfilm for further updates.

Set photos: @elvio.anderson

Last year, I would look at the moon, and watch how it would fade and grow. Knowing each cycle counted closer to our shoot date, I kept staring at it. Some days I would look out and it would give me anxiety, other days it would bring a smile to my face. January 2nd of this year was a smile.

Near the start of last year, I received an email asking if I wanted to shoot this short film. I had recently sworn to myself that I wouldn’t take on anymore projects until I had more capacity for them. A big part of myself wanted to stick to that, initially I almost said no, but the script and vision was great; I had a feeling this could finally be a narrative film that I could put my all into as a cinematographer. Turns out my instinct was right. Working with Clayton Samuels, writer, director, was everything I hoped it to be. Neither one of us thought we’d be working on the short for so long, but we set standards and stayed true to them, which meant waiting for what we needed.

I remain endlessly thankful to all my friends in the production that pulled through for me on this one, especially the incredibly talented @andriushahn and @miguelpineda99

See @father_horrorshortfilm for further updates.

Set photos: @elvio.anderson

Last year, I would look at the moon, and watch how it would fade and grow. Knowing each cycle counted closer to our shoot date, I kept staring at it. Some days I would look out and it would give me anxiety, other days it would bring a smile to my face. January 2nd of this year was a smile.

Near the start of last year, I received an email asking if I wanted to shoot this short film. I had recently sworn to myself that I wouldn’t take on anymore projects until I had more capacity for them. A big part of myself wanted to stick to that, initially I almost said no, but the script and vision was great; I had a feeling this could finally be a narrative film that I could put my all into as a cinematographer. Turns out my instinct was right. Working with Clayton Samuels, writer, director, was everything I hoped it to be. Neither one of us thought we’d be working on the short for so long, but we set standards and stayed true to them, which meant waiting for what we needed.

I remain endlessly thankful to all my friends in the production that pulled through for me on this one, especially the incredibly talented @andriushahn and @miguelpineda99

See @father_horrorshortfilm for further updates.

Set photos: @elvio.anderson

Last year, I would look at the moon, and watch how it would fade and grow. Knowing each cycle counted closer to our shoot date, I kept staring at it. Some days I would look out and it would give me anxiety, other days it would bring a smile to my face. January 2nd of this year was a smile.

Near the start of last year, I received an email asking if I wanted to shoot this short film. I had recently sworn to myself that I wouldn’t take on anymore projects until I had more capacity for them. A big part of myself wanted to stick to that, initially I almost said no, but the script and vision was great; I had a feeling this could finally be a narrative film that I could put my all into as a cinematographer. Turns out my instinct was right. Working with Clayton Samuels, writer, director, was everything I hoped it to be. Neither one of us thought we’d be working on the short for so long, but we set standards and stayed true to them, which meant waiting for what we needed.

I remain endlessly thankful to all my friends in the production that pulled through for me on this one, especially the incredibly talented @andriushahn and @miguelpineda99

See @father_horrorshortfilm for further updates.

Set photos: @elvio.anderson

Last year, I would look at the moon, and watch how it would fade and grow. Knowing each cycle counted closer to our shoot date, I kept staring at it. Some days I would look out and it would give me anxiety, other days it would bring a smile to my face. January 2nd of this year was a smile.

Near the start of last year, I received an email asking if I wanted to shoot this short film. I had recently sworn to myself that I wouldn’t take on anymore projects until I had more capacity for them. A big part of myself wanted to stick to that, initially I almost said no, but the script and vision was great; I had a feeling this could finally be a narrative film that I could put my all into as a cinematographer. Turns out my instinct was right. Working with Clayton Samuels, writer, director, was everything I hoped it to be. Neither one of us thought we’d be working on the short for so long, but we set standards and stayed true to them, which meant waiting for what we needed.

I remain endlessly thankful to all my friends in the production that pulled through for me on this one, especially the incredibly talented @andriushahn and @miguelpineda99

See @father_horrorshortfilm for further updates.

Set photos: @elvio.anderson

Last year, I would look at the moon, and watch how it would fade and grow. Knowing each cycle counted closer to our shoot date, I kept staring at it. Some days I would look out and it would give me anxiety, other days it would bring a smile to my face. January 2nd of this year was a smile.

Near the start of last year, I received an email asking if I wanted to shoot this short film. I had recently sworn to myself that I wouldn’t take on anymore projects until I had more capacity for them. A big part of myself wanted to stick to that, initially I almost said no, but the script and vision was great; I had a feeling this could finally be a narrative film that I could put my all into as a cinematographer. Turns out my instinct was right. Working with Clayton Samuels, writer, director, was everything I hoped it to be. Neither one of us thought we’d be working on the short for so long, but we set standards and stayed true to them, which meant waiting for what we needed.

I remain endlessly thankful to all my friends in the production that pulled through for me on this one, especially the incredibly talented @andriushahn and @miguelpineda99

See @father_horrorshortfilm for further updates.

Set photos: @elvio.anderson

Last year, I would look at the moon, and watch how it would fade and grow. Knowing each cycle counted closer to our shoot date, I kept staring at it. Some days I would look out and it would give me anxiety, other days it would bring a smile to my face. January 2nd of this year was a smile.

Near the start of last year, I received an email asking if I wanted to shoot this short film. I had recently sworn to myself that I wouldn’t take on anymore projects until I had more capacity for them. A big part of myself wanted to stick to that, initially I almost said no, but the script and vision was great; I had a feeling this could finally be a narrative film that I could put my all into as a cinematographer. Turns out my instinct was right. Working with Clayton Samuels, writer, director, was everything I hoped it to be. Neither one of us thought we’d be working on the short for so long, but we set standards and stayed true to them, which meant waiting for what we needed.

I remain endlessly thankful to all my friends in the production that pulled through for me on this one, especially the incredibly talented @andriushahn and @miguelpineda99

See @father_horrorshortfilm for further updates.

Set photos: @elvio.anderson

Last year, I would look at the moon, and watch how it would fade and grow. Knowing each cycle counted closer to our shoot date, I kept staring at it. Some days I would look out and it would give me anxiety, other days it would bring a smile to my face. January 2nd of this year was a smile.

Near the start of last year, I received an email asking if I wanted to shoot this short film. I had recently sworn to myself that I wouldn’t take on anymore projects until I had more capacity for them. A big part of myself wanted to stick to that, initially I almost said no, but the script and vision was great; I had a feeling this could finally be a narrative film that I could put my all into as a cinematographer. Turns out my instinct was right. Working with Clayton Samuels, writer, director, was everything I hoped it to be. Neither one of us thought we’d be working on the short for so long, but we set standards and stayed true to them, which meant waiting for what we needed.

I remain endlessly thankful to all my friends in the production that pulled through for me on this one, especially the incredibly talented @andriushahn and @miguelpineda99

See @father_horrorshortfilm for further updates.

Set photos: @elvio.anderson

Last year, I would look at the moon, and watch how it would fade and grow. Knowing each cycle counted closer to our shoot date, I kept staring at it. Some days I would look out and it would give me anxiety, other days it would bring a smile to my face. January 2nd of this year was a smile.

Near the start of last year, I received an email asking if I wanted to shoot this short film. I had recently sworn to myself that I wouldn’t take on anymore projects until I had more capacity for them. A big part of myself wanted to stick to that, initially I almost said no, but the script and vision was great; I had a feeling this could finally be a narrative film that I could put my all into as a cinematographer. Turns out my instinct was right. Working with Clayton Samuels, writer, director, was everything I hoped it to be. Neither one of us thought we’d be working on the short for so long, but we set standards and stayed true to them, which meant waiting for what we needed.

I remain endlessly thankful to all my friends in the production that pulled through for me on this one, especially the incredibly talented @andriushahn and @miguelpineda99

See @father_horrorshortfilm for further updates.

Set photos: @elvio.anderson

Last year, I would look at the moon, and watch how it would fade and grow. Knowing each cycle counted closer to our shoot date, I kept staring at it. Some days I would look out and it would give me anxiety, other days it would bring a smile to my face. January 2nd of this year was a smile.

Near the start of last year, I received an email asking if I wanted to shoot this short film. I had recently sworn to myself that I wouldn’t take on anymore projects until I had more capacity for them. A big part of myself wanted to stick to that, initially I almost said no, but the script and vision was great; I had a feeling this could finally be a narrative film that I could put my all into as a cinematographer. Turns out my instinct was right. Working with Clayton Samuels, writer, director, was everything I hoped it to be. Neither one of us thought we’d be working on the short for so long, but we set standards and stayed true to them, which meant waiting for what we needed.

I remain endlessly thankful to all my friends in the production that pulled through for me on this one, especially the incredibly talented @andriushahn and @miguelpineda99

See @father_horrorshortfilm for further updates.

Set photos: @elvio.anderson

Abruzzo, Italy. After many espresso breaks, and countless possible instances of loitering, we finished 25 consecutive days of filming. An observational feature-length documentary, directed by @lamarty_co. I had the honor of serving as director of photography on this wonderful project. A highlight of my career in documentary work thus far.

Shot with the Canon C80 and C70, using a mix of Leica R lenses, focusing on one traditional town, and the residents who are living with its shifting future.

Thanks to @robertacappa391 for some of the BTS included!

Abruzzo, Italy. After many espresso breaks, and countless possible instances of loitering, we finished 25 consecutive days of filming. An observational feature-length documentary, directed by @lamarty_co. I had the honor of serving as director of photography on this wonderful project. A highlight of my career in documentary work thus far.

Shot with the Canon C80 and C70, using a mix of Leica R lenses, focusing on one traditional town, and the residents who are living with its shifting future.

Thanks to @robertacappa391 for some of the BTS included!

Abruzzo, Italy. After many espresso breaks, and countless possible instances of loitering, we finished 25 consecutive days of filming. An observational feature-length documentary, directed by @lamarty_co. I had the honor of serving as director of photography on this wonderful project. A highlight of my career in documentary work thus far.

Shot with the Canon C80 and C70, using a mix of Leica R lenses, focusing on one traditional town, and the residents who are living with its shifting future.

Thanks to @robertacappa391 for some of the BTS included!

Abruzzo, Italy. After many espresso breaks, and countless possible instances of loitering, we finished 25 consecutive days of filming. An observational feature-length documentary, directed by @lamarty_co. I had the honor of serving as director of photography on this wonderful project. A highlight of my career in documentary work thus far.

Shot with the Canon C80 and C70, using a mix of Leica R lenses, focusing on one traditional town, and the residents who are living with its shifting future.

Thanks to @robertacappa391 for some of the BTS included!

Abruzzo, Italy. After many espresso breaks, and countless possible instances of loitering, we finished 25 consecutive days of filming. An observational feature-length documentary, directed by @lamarty_co. I had the honor of serving as director of photography on this wonderful project. A highlight of my career in documentary work thus far.

Shot with the Canon C80 and C70, using a mix of Leica R lenses, focusing on one traditional town, and the residents who are living with its shifting future.

Thanks to @robertacappa391 for some of the BTS included!

Abruzzo, Italy. After many espresso breaks, and countless possible instances of loitering, we finished 25 consecutive days of filming. An observational feature-length documentary, directed by @lamarty_co. I had the honor of serving as director of photography on this wonderful project. A highlight of my career in documentary work thus far.

Shot with the Canon C80 and C70, using a mix of Leica R lenses, focusing on one traditional town, and the residents who are living with its shifting future.

Thanks to @robertacappa391 for some of the BTS included!

Abruzzo, Italy. After many espresso breaks, and countless possible instances of loitering, we finished 25 consecutive days of filming. An observational feature-length documentary, directed by @lamarty_co. I had the honor of serving as director of photography on this wonderful project. A highlight of my career in documentary work thus far.

Shot with the Canon C80 and C70, using a mix of Leica R lenses, focusing on one traditional town, and the residents who are living with its shifting future.

Thanks to @robertacappa391 for some of the BTS included!

Abruzzo, Italy. After many espresso breaks, and countless possible instances of loitering, we finished 25 consecutive days of filming. An observational feature-length documentary, directed by @lamarty_co. I had the honor of serving as director of photography on this wonderful project. A highlight of my career in documentary work thus far.

Shot with the Canon C80 and C70, using a mix of Leica R lenses, focusing on one traditional town, and the residents who are living with its shifting future.

Thanks to @robertacappa391 for some of the BTS included!

Abruzzo, Italy. After many espresso breaks, and countless possible instances of loitering, we finished 25 consecutive days of filming. An observational feature-length documentary, directed by @lamarty_co. I had the honor of serving as director of photography on this wonderful project. A highlight of my career in documentary work thus far.

Shot with the Canon C80 and C70, using a mix of Leica R lenses, focusing on one traditional town, and the residents who are living with its shifting future.

Thanks to @robertacappa391 for some of the BTS included!

Near home.

In the southwest, passion, rain, and home are all a synonymous feeling for me. I can go anywhere but it’s the drama of the southwest that captures me. The duality between the droughts and the summer storms reflect more than meets the eye.

Horsetail Milkweed
These pretty white flowers are enjoying the southwest monsoon.

#horsetailmilkweed #flowers #flower #minimal #minimalphotography #simplephotography #simplephoto #blackbackground #blackbackdrop #plants#arizona

…

NYC