ON THE FLY - ADVENTURES AT ALTITUDE Docuseries Role: Co-Director/DP, EP 3 Prod. Co.: TIME Studios, Ellipsis, Relatives Shot on: FX9 + Leica Summilux-C, Agenieux EZs
MAJOR LEAGUE BASEBALLOCTOBER ORIOLES Verité Package
Role: DP Prod. Co.: MLBN Features Shot on: ARRI Amira + Angenieux EZs
INTO IRAQ WITH THE MARINES OF 3/7 Documentary Photography Essay
Role: Photographer Invasion (2003) and Occupation (2004) Agency: REDUX
Shot on: Canon EF
DISNEY+MARVEL HERO PROJECT Docuseries (EPs 1,12,15)
Role: DP Prod. Co.: Roadside Shot on: ARRI Amira + Angenieux EZ
DETROIT - WE RUN 313 Pilot Docuseries
Role: Director / DP Prod. Co.: Tropical Jealousy Shot on: ARRI Amira + Angenieux EZ
PULITZER CENTERVENEZUELA UNDER HUGO CHAVEZ Documentary Photography Essay
Role: Photographer + Producer Agency: REDUX
Shot on: Lecia M + Summicron, Canon EF
MTNDEW“CONGRATS CHASE” Digital Social
Role: DP / Director Agency: Genesco Shot on: FS7 + Agenieux EZs
KETEL ONE“GENTLEMEN, THIS IS VODKA” Advertising Campaign POS, OOH, PRINT Role: Photographer Agency: GREY Shot on: Hassleblad 500C + Zeiss T*, XPAN, Canon EF, Leica M6 + Summicron
Brooklyn, 2015 - Photo by Erin Loos Cutraro
ANDREW CUTRARO
In a world saturated with divisive algorithms and synthetic images, I work in the opposite direction. My craft is rooted in trust, access, and creating space for honesty to unfold on camera.
Today, I work as a documentary cinematographer and director, leading productions that demand both intimacy and scale; from vérité storytelling to high-pressure commercial environments. Whether embedded with a subject for months or building the rhythm of a set for a national brand, my priority is the same: make images that feel true.
That sensibility grew out of my years as a contract photojournalist for TIME and ESPN, where I learned to gain access quickly and earn trust in high-stakes situations. Those early lessons in rapport, respect, patience, and knowing when to step back, still drive my work on film sets and in edit rooms.
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 get out of the way.