Shot in December 2013 in Kentish Town with Sony PMW-5 with a set of Lomo Vintage Anamorphic lenses and some Canon 5D and 7D with Canon EF Prime and Zoom Lenses.

Directed by Giorgio Testi, photography by Leon Henry and myself (uncredited).

The first shot it’s me. ‘Nuff Said. 😉


Early last March I shot this music video for the lovely Janet Devlin.

Shot in Manchester on a pair of Canon 5D on Gemini recorders in Apple ProRes 422 with Canon Prime EF Lenses.

Directed by Henry Steedman, who cowrote it with Janet, the video reflects the singer’s playful nature.

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Me Panoroid

I’ve began making panoramic shots more as a technical exercise than anything else, then I obviously fell in love with it. May it be for their inherent “cinemascope” feel or just for the unpredictability of the result (to a certain degree obviously), it has brought me back to my film days, when I was exposing and developing it myself waiting to see if my calculations were correct, if they were reflected in the density of the negative. Then there was the print: the choice of its contrast, the eventual reframe, dodge, burn. Of course all this and beyond happens digitally, but the thrill is partly lost – a lot more hair are growing back and there’s much more sleep at night during a motion picture production for the cinematographer, whatever type of product it is, a commercial, promo, documentary or feature film. At the same time, for me that I don’t work as a paid professional stills photographer, not being able to see right away what the result would be, brings back a certain excitement that I’ve been gradually losing since the advent of digital photography, with its onboard monitor and live views. When I shoot motion I don’t mind that actually, it is quite nice to be able to see what you’re going to get and I don’t believe in the saying “now everybody feels the right to state their opinion on the image out loud by the monitor”, if they do it means they’re unprofessional and should’t be working on a professional film set; on the other hand that is a practice that has always happened even when the image from the camera was fed through a low definition camera shooting through the camera prism and sent to (often) a nine inch CRT monitor (how the hell all those people could judge a picture from that sort of set up, when the cinematographer in charge wouldn’t have hoped to do that, remains a mystery – I guess there must have been herds of super skilled directors of photography among them). Then the excitement has grown even bigger once I started including HDR into my panoramic picture taking, I almost always shoot for that but often I end up not using it, making the panoramic stitch from the correctly exposed shots. Other times I’ve used  the HDR to get rid of the noise and have a bit more to play with during the grade although I try to keep it subtle, I don’t like the super saturated, solarised look of most HDR photography and I downright hate HDR on people’s faces. I find that a good way to age anybody of 20 years in one clean swoop is to use HDR on them. Going back to the cinemascope feel of panoramic shots (the name is in fact a synonym of it in itself), and the extreme way you can achieve that, I have to say that I find it very romantic. When that is achieved, even if you look at the picture let’s say fitted within the a 15” screen, and you can obviously see it in its entirety there’s something in your brain that forces to you to “read” it along its width, from let to right or right to left, making it an experience in time, therefore filmic. As silly as it may sound it is almost as the viewer’s eyes are used as a camera panning within the landscape so that they are prompt to analyse bits at a time, creating a longer experience. I’d love to incorporate human figures in my panoramic shots, to create a sort of storyboard, a tableau vivant, a story. We’ll see, so far I’ve only done it with my daughter and it worked quite well!

The following gallery includes pictures taken during a recent trip to Sweden, and will be added to my pictures page where you can find many other panoramic shots I’ve taken in the past.

Click on the title above to access the post and see the pictures in their entirety. 

Gaslight Anthem New Video


A new music video I shot a while ago for the Gaslight Anthem will be out soon. It’s going to be a dynamic one, great song and performance. If they happen to play near you go see them, they’re great live.


I shot their video with a combination of cameras from ARRI Alexa with Zeiss Ultraprimes to Canon C300 and 5D MKIII with Canon Zoom and Prime EF Lenses, mostly hand held. It was shot during the span of a two-day gig in London the guys played last April. I supervised the lighting on stage and made it right for our different formats, which wasn’t as easy at it sounds, but I managed quite well, adding a few pivotal lights on stage to give it a bit more of an edge, mostly 2K Fresnels and 4-light blinders. We also had the chance to shoot for a time during sound check the second day and that made for a big difference in terms of shots, allowing us to intercut with close-ups and details that otherwise would have been impossible to capture during the actual performance.

We finished the video in crisp black and white and it now has an old school RnR still photography feel to it, pretty much like the photography of Jim Marshall, an all time great, as well as Mick Rock, Charles Peterson, Janette Beckerman, Kevin Cummins among others and obviously Anton Corbijn, probably my favourite one. If you like music photography you should check them out.

I loved working with the band. The promo was directed by the always talented Giorgio Testi (who also directed “45” for the GA).

Brian performing on stage at the Troxy

Brian performing on stage at the Troxy

Giorgio (with hat) having a chat in the backstage
Giorgio (with hat) having a chat in the backstage


New Andrex Eco Campain Out Now

The new Andrex Eco campaign is finally out. The campaign was directed by Dan Burn-Forti for Making Pictures and shot by me. Dan also was the photographer behind the print ad campaign. All the videos we shot are on my Works page but I decided to post the very funny bloopers video here. A treat for puppy lovers. Shot on ARRI Alexa with Cooke S4 Prime Lenses. 🙂

Scroll the cog wheel pop up menu to watch HD.

Lion in the tent shoot about to start

I’m days away from the start of the “Lion In The Tent” short film shoot. It is going to be a very exciting an challenging shoot. Our fantastic writer/director Joe Oppenheimer has written a fantastic universal tale and wants to deliver a top notch product with the help of a surprise finale. We’re going to shoot with Red Epic. More info to come after the shoot.

Here’s the link to the short film’s website:

(The smoking/coffee statements about me are totally not true! Don’t know what happened there…)

The poster was created for the crowd funding scheme that the film went through, another one will follow

The poster was created for the crowd funding scheme the film went through, another one will follow as soon as the film has been completed.


Me in front of the film poster.

Me in front of the film poster.

Latvia, the feature film I shot for Barry Derbyshire produced by Alexandra Ferguson opened the London Independent Film Festival and I attended and was captured by the event’s photographer…


Here we are with on my latest effort directed by my friend, the very talented live performance director Giorgio Testi.

This is essentially a no budget production from the very nice very talented all-female band Savages. They’re rough and powerful and their shows are worth the ticket price.

Shot on Canon 7D and 5D Mark II with Canon EF Primes and Zoom Lenses.

Shut up and enjoy then!

Watch it HD changing the resolution via the cogwheel’s drop down menu on the  (bottom right on the youtube window).



I had to shoot this last week for the band itself!

Unfortunately there wasn’t enough time due to the very quick turnaround to go around the world to shoot Mick and Keith so we had to send local crews to cover them. Director Giorgio Testi and I had to spend a lovely day in the company of the other two legends Charlie and Ronnie. They were the nicest gentlemen ever and I am grateful to have been given the chance to meet them. I’m also very excited by they’re upcoming, now officially confirmed tour. Their live shows are great and not to be missed.

Mick and Keith were shot on Red Epic with Leica and Canon Primes.

I shot Charlie and Ronnie on ARRI Alexa with Zeiss Ultraprimes.

Directed by Giorgio Testi, produced by Pulse Films.

You can watch it HD changing the resolution via the drop down menu on the cogwheel (bottom right on the youtube window).

This is something else I shot for them earlier to promote the first five dates of their 50 & Counting tour. Shot live on RED Epic, Canon C300, Canon 7D, GoProHD with Canon EF Zoom and Prime Lenses and directed by Giorgio Testi too:


Instagram snapshot I took with my phone of the empty library moments before the artists and the crew arrived.

Instagram snapshot I took with my phone of the empty library moments before the artists and the crew arrived.


A couple of weeks ago I flew to Rome to shoot the promo for a feature documentary about world famous contemporary artist.

It was a fantastic experience and I proud to having been part of it. The project was conceived and directed by my old friend from the Roman days Marco Guelfi, a talented editor whose credits include “I Primi della Lista” a successful comedy feature film directed by Roan Johnson, amongst others. Marco was drawn to the project by one of Italy’s most renowned curator Prof. Bruno Corà, that has recently started a new art magazine named “Mozart”.

To promote Mozart’s first issue an installation by Jannis Kounellis and Bizhan Bassiri was set up inside the breathtaking Biblioteca Angelica, a XVI century library set in the heart of Rome, right along side S. Agostino church (that contains the Madonna die Pellegrini by Caravaggio), a scarce hundred meters away from Piazza Navona.

The project involved documenting the set up of the artists’ installations and then shooting a few crane shots of the artists themselves by their work.

We had full access of the premises and we used a 12 meter jib arm on some 8 meters trucks using a 2 axis remote head, all provided by ArtMotion in Rome, the rest of the camera kit was provided by Soulmovie that will also look after the post.

The next few days we shot Rome vistas as well interviews with Kounellis, Bassiri and Corà in their respective homes. Spending time with those two artist was fun and most of all inspiring.

Jannis Kounellis (b.1936) requires no introduction. One of the founders of Arte Povera at the end of the Sixties he has been a groundbreaking artist ever since. His works always reflecting a progression on his need of experimentation.

Bizhan Bassiri (b.1954) leading figure of the Magmatic Thought, is a plastic sculptor whose art spawns by very interesting thoughts that compare the artistic process to those of meteorites.

Frame grab from the actual promo footage showing Jannis Kounellis sitting in between the library desks on which he had placed his "Sacks of Bread".

Frame grab from the actual promo footage showing Jannis Kounellis sitting in between the library desks on which he had placed his “Sacks of Bread”.

Frame grab from the actual promo footage showing Bizhan Bassiri underneath his sculpture "The Sun". In front of him, on the desk, are his "Fortune Dice".

Frame grab from the actual promo footage showing Bizhan Bassiri underneath his sculpture “The Sun”. In front of him, on the desk, are his “Fortune Dice”.

Frame grab from the actual promo footage showing the entire view of the Biblioteca Angelica with the art works installed.

Frame grab from the actual promo footage showing the entire view of the Biblioteca Angelica with the art works installed.