MONTEFIORE
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: SONY FX9 + Leica Summilux-C, Agenieux EZs

MAJOR LEAGUE BASEBALLOCTOBER ORIOLES
Verité Package
Prod. Co.: MLBN Features
Shot on: ARRI Amira + Angenieux EZs
CAL RUGBY - AMERICA’S WINNINGEST TEAM
Documentary Photography Essay
Agency: Redux Pictures
WILSON ROGER FEDERER
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
DISNEY+MARVEL HERO PROJECT
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

PULITZER CENTERVENEZUELA UNDER HUGO CHAVEZ
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

CTIA / AT&T 5G5G FOOTBALL HELMET
Verité Package
Prod. Co.: Ellipsis
Shot on: ARRI Amira + Angenieux EZs

AMERICA’S MAINSTREET
Documentary Photography Essay
Agency: REDUX
VOLKSWAGENANNIE THE BEETLE
Branded Short Doc
Director: Mike Million
Prod Co.: Third Story
Shot on: FS7 + Zeiss CP2s

POLITICO: DIFFERENT
Advertising Campaign OOH
Agency: REDUX
KETEL ONEGENTLEMEN, THIS IS VODKA
Advertising Campaign
POS, OOH, PRINT
Agency: GREY
In our chaotic world of divisive algorithms and weaponized deepfakes, I believe in the intrinsic power of authentic documentary images. Realness is more powerful today than ever before.
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.

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.




Read more about my process.
See what I’ve been shooting.
Reach out if you want to learn more about me or talk about a project.


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