Director of Photography
Cinematographer
Based in Lisbon - Portugal, working across Portugal PT · Available for selected projects worldwide.
How many times have your eyes sparkled with delight?
Cinematography with a film-first approach
Cinematography shapes how a story is perceived through light, colour, composition, texture, lenses and movement. I approach those choices as one visual system, built around the story rather than a fixed look.
Cinematography is how a story dresses itself — through colour, colour palettes, tone, shape, texture, light and movement. As with clothing, it is not only about individual colours, but about how they are combined: harmonious or contrasting palettes, repeated patterns, smooth or textured surfaces, and sometimes the deliberate reduction or absence of colour. These choices are never purely decorative. They influence what we notice, how a scene feels, and ultimately how a story or message reaches the person watching it.
How I shape colour, light, lenses & atmosphere
A visual language also determines what is allowed to dominate the frame and what is deliberately held back. Light, colour, contrast, composition and shape can guide the eye naturally towards a face, object or action without making that emphasis feel artificial. They can create separation and depth, or flatten space so that a room feels tighter, more intimate or more oppressive. The same elements can create harmony, calm, unease or tension before a single word is spoken.
The choice of camera, image-capture format, lenses and filtration is part of that same visual language. A digital cinema camera may be the right tool for one project, while another may benefit from the imperfections of analogue video or motion-picture film, the immediacy of a mobile phone, the physical proximity of an action camera, or even the detached, observational perspective of a surveillance camera. The technically most advanced camera is not automatically the best choice. The strongest image is the one that complements the story — whether that means high dynamic range and controlled detail, softness and halation, visible grain, electronic noise, distortion, lower resolution or an intentionally imperfect image.
Lens choice can be just as expressive. High-end commercials, luxury brands and polished corporate productions may call for highly corrected modern cinema lenses that deliver a clean, precise image with minimal optical artefacts, controlled contrast and consistent rendering across a lens set. For more cinematic looks and filmic narratives, anamorphic lenses can introduce a wider spatial feel, distinctive flare behaviour, characteristic bokeh and a more expressive relationship between subject and background. Music videos, documentaries and period-inspired work may instead benefit from vintage photographic lenses chosen precisely because they are less perfect: lower contrast, edge softness, blooming highlights, distinctive flares, chromatic aberrations and other optical irregularities can make an image feel more organic, tactile or tied to a particular era. In cinematography, an optical imperfection can be a deliberate creative decision rather than a defect to be corrected.
A Director of Photography does not only shape the image through cameras, lenses and lighting; the physical atmosphere of the space can also become part of the cinematography. Haze, fog, smoke and other atmospheric effects can add density to the air, reveal beams of light, separate layers within the frame and give a scene greater depth and volume. Used subtly, they can soften a clean environment or make light feel more tangible; used more strongly, they can obscure parts of the frame, create mystery, tension or intimacy, and control what the audience sees clearly and what remains only suggested. These choices are planned together with lighting, composition and production design so that the environment itself helps tell the story.
For me, this work begins in pre-production and continues through filming into post-production. Location, wardrobe, production design, camera and lens choice, filtration, lighting strategy, movement, exposure and colour are considered as parts of the same visual system. A documentary, fiction film or music video may benefit from grain, texture and controlled imperfection to feel more organic, while a corporate film or advertisement may call for a cleaner, more polished image. Neither is a fixed formula: the finish should grow from the story, audience and visual intention. As a member of the AIP (Associação de Imagem Portuguesa), I work across documentary, fiction, music videos, commercial, corporate and branded productions with the same principle: the image should serve the story rather than exist simply for decoration.
Director & DoP on the same project
This can be particularly effective on music videos, documentaries and smaller author-led productions...
On suitable productions, the roles of Director and Director of Photography can be combined. I often work in both capacities, carrying the creative intention from shot selection, blocking, pacing and work with performers or contributors through to lighting, lens choice, camera movement, exposure and the technical execution of the image. This can be particularly effective on music videos, documentaries and smaller author-led productions, where a unified creative and visual approach keeps the process direct and coherent. The crew can still expand around those combined responsibilities with camera assistants, gaffer, grip or additional operators when required.
This is how I have approached many of my music videos, and also Sikat Subar — A Hidden Colorful Feather, a 94-minute feature documentary supported by Portugal’s Institute of Cinema and Audiovisual (ICA), where I worked as both director and cinematographer. The film later received recognition in both overall film and cinematography categories, including Best Documentary Cinematography — Feature Movies at FICIMAD in 2024. When appropriate, I can also carry that visual continuity through editing, colour correction, colour grading and the wider post-production process. On larger productions, however, separating the Director and DoP roles can be the stronger structure, allowing each person to concentrate fully on their own responsibilities.
Services & Day Rates
Each production is quoted according to its specific creative and technical requirements.
From solo shoots to full crews. As a Director of Photography (DoP/DP) and Cinematographer in Portugal, I bring cinema-grade camera and lighting craft to every production, working with experienced local and international crews or, depending on scope, as a high-end solo operator.
Each production is quoted according to its specific creative and technical requirements. Rates depend on the scope of the shoot, the camera package, lenses, lighting, grip and additional equipment required to shape and control the image and environment, as well as the preparation, testing and crew needed before and during production. Full-day, half-day and multi-day arrangements are available, whether in Portugal or for international projects.
For many cinematography assignments, a technical recce or location visit before the filming day is recommended whenever possible and practical. Seeing the location in advance makes it possible to assess natural and practical light, available space, camera positions, power, access, sound and the general environment, and to identify any lighting, grip or logistical requirements before the crew arrives. This preparation helps the filming day run more efficiently and allows the visual approach to be planned around the real conditions of the location rather than assumptions.
Dedicated cinematography / DoP work is generally quoted above straightforward videography coverage. The difference reflects the additional visual planning and responsibility involved — including camera and lens strategy, lighting design, exposure, light control, visual continuity, technical preparation and, on larger productions, coordination with camera, lighting and other departments.
A standard cinematography day is normally planned around a 10-hour production window, including equipment setup and breakdown and a 1-hour meal break. These timings can be adapted when agreed in advance. Night work, travel, unusual schedules, extended days and other production-specific requirements are discussed and quoted case by case.
Bookings normally require a 50% advance payment to confirm and reserve the production dates, with the remaining balance handled according to the terms agreed for the individual project.
To request day rates or a tailored quote in € or $, please use the contact form. Each project is budgeted around its actual creative and production requirements rather than a fixed package.
Colour Workflow & Look Development
I shoot with the grade in mind...
I shoot with the grade in mind — shaping light, contrast and colour on set so the final image holds up in post. When needed, I handle colour correction and look development, or supervise grading with a dedicated colourist, to ensure natural skin tones, clean highlights and a cohesive visual language across the film.
This can include camera tests, LUT strategy and consistent matching across scenes and setups — always aligned with the cinematography intent.
The true measure of a DoP/Cinematographer is execution: sculpting light, shaping rhythm and delivering a coherent visual language that serves the story. The examples below show different approaches to light, movement, colour, natural environments and controlled production settings.
Selected Cinematography Work
Watch some examples:
RAMMA — O INFERNO ARDE EM MIM · MUSIC VIDEO
Roles: Creative concept development with RAMMA · Pre-production & location recce · Director · Cinematographer / DoP · Aerial Cinematography / Drone · Post-production (editing, sound design, colour correction, colour grading & VFX)
A look at the cinematography processNight cinematography, lighting design, haze, filtration, practical light and camera movement.
Working from RAMMA’s initial ideas, I developed the creative concept and visual approach with him. I also handled pre-production and the location recce, defining the lighting and atmospheric setup — including real and artificial candles, lighting sources, filtration and haze — before directing the project and serving as its Director of Photography. After the shoot, I handled the edit, colour correction, colour grading and post-production, including the integration of VFX.
RAMMA — O Inferno Arde em Mim was shot entirely at night, using darkness as a creative choice and the palace as a living character. The visual approach balances practical flame with controlled, sculpted light — keeping the atmosphere intimate while still holding detail in deep shadows and textured architecture.
To shape large, dark spaces like the wine cellar and chapel — and exterior garden sequences at night — I built a flexible lighting approach around RGBWW sources and modifiers: a strong key that could be softened through diffusion and softboxes, or focused through a fresnel when the scene needed reach and contrast.
For precision, narrow beams and cut light were created with a spotlight/snoot, allowing tight control of direction and beam spread, together with texture through gobos and subtle colour shifts with gels. Small portable LED units were essential for hidden placements in tight areas, including between wine barrels, and haze helped give the light presence, soften edges and create depth in the frame.
In spaces with greater depth, I also used backlight and silhouettes picked out with subtle accents of light, creating separation and dimension around the performer and the elements of the environment I wanted to emphasise without breaking the low-light feel. On camera, diffusion (mist) filters were used to soften highlights, bloom practical sources and keep the image organic.
Real candles and battery-powered practicals were used as motivated sources, with some scenes captured handheld for immediacy and others on a gimbal for controlled, drifting movement. Shot in log at night, the priority was always to maintain a natural balance — keeping the performer clearly defined without losing the mystery of the darkest spaces.
FILM FRAMES
SIKAT SUBAR · FEATURE DOCUMENTARY
Roles: Original concept · Writing · Primary producer · Director · Cinematographer / DoP · Aerial Cinematography / Drone · Location sound recording
Editing & post-production: Filmesdamente
Project: 94-minute feature documentary · Supported by Portugal’s Institute of Cinema and Audiovisual (ICA) through the 2020 Support for the Completion of Cinematographic Works · Captured in 4K DCI and finished in 2K DCI · International distribution including U-NEXT Japan.
A look at the cinematography processDocumentary cinematography, vintage lenses, high-frame-rate action, natural light and field workflow.
As the project’s original creator, I developed the concept, wrote the film, served as primary producer, directed it and served as Director of Photography. I also handled aerial cinematography and location sound recording, as well as the research and selection of archival material. Unlike the other projects in this selection, the editing and post-production were handled by Filmesdamente. The 94-minute feature documentary received ICA support through the 2020 Support for the Completion of Cinematographic Works. It later reached international distribution including U-NEXT, which held the second-largest share of Japan’s SVOD market in 2025, behind Netflix.
Sikat Subar is an observational documentary with cinematic ambition — real light, real emotion, and the camera as a quiet presence. Shot in a hot, humid tropical climate under constantly shifting conditions (hard sun, heavy cloud cover, lush open landscapes and shaded interiors), the image keeps searching for texture: skin, dust, smoke, shimmer and contrast as a visual language. In towns, the air often came pre-graded — burn smoke, motorbike exhaust and unpaved-road dust — set against saturated nature, rich colour and constant movement, and the stark contrast of polluted, degraded spaces.
The film was recorded externally via SDI on an Atomos Shogun Inferno in ProRes 422 — a strategic choice for a documentary workflow that ultimately generated over 100 hours of footage. In Timor-Leste, where storage logistics and drive costs can quickly become a real constraint, ProRes 422 was the most balanced option: high image quality and grading flexibility without the heavy data footprint of higher-bitrate formats. The film was captured in 4K DCI and finished in 2K DCI, with the final master listed by the ICA as DCP 2K.
Vintage manual primes and zooms were chosen for character — gentle falloff, softness and occasional flares that let highlights bloom and make the world feel organic and lived-in. Used on an APS-C camera with a focal reducer, they provided a wider, more immersive field of view and a small but meaningful exposure advantage in difficult light.
On this project, the choice of camera was essential not only to the look, but to the way the story itself could be told. The film’s 4K DCI ProRes workflow, alongside the camera’s ability to record selected sequences at 120–240fps, made slow motion part of the narrative language: slowing gestures and movements that would otherwise pass too quickly, giving the viewer time to observe the action and details within the frame, and turning moments of speed into images that actively shape the film. This was one of those cases where the equipment choice became part of the directing approach, not simply a technical capture decision.
In the cockfighting sequences, the challenge was capturing fast action at 120–240fps in extremely limited light — deep shade, bodies packed tight, trees overhead and corrugated tin roofs cutting most of the sun. That constraint became part of the look: side light slipping through narrow gaps turned dust into dramatic “god rays,” transforming chaos into choreography. In darker locations — including caves with no natural light — small portable LED units shaped the scene while keeping the film grounded in a documentary reality.
The cinematography later received specific festival recognition, including Best Documentary Cinematography — Feature Movies at the Festival Internacional de Cine Independiente de Madrid (FICIMAD) in 2024, alongside the film’s broader international awards and festival distinctions.
FILM FRAMES
DAWID TOMASZEWSKI — FANTASTIC VOYAGE · FASHION FILM
Roles: Creative concept development with Dawid Tomaszewski · Location scouting · Director · Cinematographer / DoP · Aerial Cinematography / Drone · Local production support · Post-production (editing, sound design, colour correction & colour grading)
A look at the cinematography processLocation scouting, natural and practical light, slow motion, high ISO and colour consistency.
Starting from Dawid Tomaszewski’s original idea, we developed the creative concept together and I translated that direction into a visual journey through Lisbon. I scouted the city, photographed and proposed different locations for his selection, supported the local production, and directed the film while also serving as Director of Photography. After the shoot, I also handled the edit, colour correction, colour grading and remaining post-production.
Dawid Tomaszewski — “Fantastic Voyage” is a fashion film shot across a single day and night in Lisbon, built on extensive pre-production. I carried out detailed location scouting and proposed a range of settings to Dawid so each look could be paired with the right architecture, colour palette and atmosphere — letting wardrobe and place speak the same visual language.
Day scenes leaned on natural light and clean composition, while the night work embraced existing practicals — street lamps, shopfronts, reflections and mixed urban colour. Portable LED sources and diffusion were used selectively to shape faces, control contrast and keep movement fluid and controlled without losing the authenticity of the locations.
The film was captured in 4K UHD at 50fps to create elegant slow motion in a 25fps finish, also allowing the movement, texture and details of the garments to be observed more clearly. That choice brought its own technical challenge at night: the city combines different types and technologies of lighting, some operating at frequencies that can produce flicker when filmed at higher frame rates. On set, we constantly adjusted shutter, exposure and positioning to keep the image stable without losing the pace and fluidity that slow motion demands.
I chose a Sony camera system for its ability to hold a clean image at very high ISO, which was crucial for night exteriors. Fast primes and zooms were paired with a gimbal for fluid fashion-forward movement and a sense of momentum through the city. In several situations, ND filtration was used even at night to stay within the camera’s optimal native ISO range and maintain controlled exposure and highlight roll-off.
Colour work was carefully balanced to respect the original fabric tones and keep skin natural, while navigating mixed lighting temperatures across different streets and interiors. The result is vibrant but grounded — stylized fashion imagery that still feels connected to real street light.
FILM FRAMES
KAROLINE KAMINSKI — PEOPLE · MUSIC VIDEO
Roles: Director · Cinematographer / DoP · Aerial Cinematography / Drone · Post-production (editing, colour correction & colour grading)
A look at the cinematography processTheatre lighting, haze, diffusion, lens choice and low-light image strategy.
Alongside the cinematography, I directed People and carried the visual approach through post-production, handling the edit, colour correction and colour grading to preserve continuity between the stage lighting, skin tones, contrast and the final atmosphere of the music video.
Karoline Kaminski — People was shot inside a theatre with a minimalist, graphic approach — using a deep black stage as an “infinite” background where the singer is separated from the background through rim light and controlled haze. A tungsten projector became the main key for the singer, taking advantage of its output and warm colour to keep skin tones natural and cinematic.
Opposing that warmth, daylight-balanced LED sources were placed behind the singer and deeper on stage to create a cooler, blue-leaning backlight and crisp edge definition. With the background kept intentionally dark, small LEDs on the floor and a few elevated points provided precise accents — enough to suggest depth and space while maintaining the illusion of a “bottomless” stage.
A haze machine gave density to the air so light could breathe, making beams and gradients visible and helping the image feel dimensional rather than flat. Strong diffusion and mist filters were used to let highlights bloom in a controlled way — especially on the vintage metal microphone, piano reflections, and the brightest areas of wardrobe and hair — adding softness and glow without losing shape.
Lens choices ranged from wide angles to telephoto for a mix of theatrical scale and intimate portrait framing, with fast lenses supporting the low-light environment. In this case, the camera was set to a slightly modified standard picture profile (not log) to protect the shadows from noise while maintaining clean contrast and a controlled, stage-like look.
FILM FRAMES
ALGARVE WELLNESS - HOLISTIC RETREAT · PROMOTIONAL FILM
Roles: Director · Cinematographer / DoP · Aerial Cinematography / Drone · Post-production (editing, sound design, colour correction & colour grading)
A look at the cinematography processNatural light, weather continuity, drone cinematography, interview lighting and colour.
For Algarve Wellness, I directed and photographed the film and carried the project through post-production, including editing, colour correction and colour grading. This allowed the exposure, lighting and palette decisions made on set to remain consistent through the final promotional film.
Algarve Wellness was shot primarily in log with a natural-light approach, timing the exterior work for moments when the sun was high to keep shadows minimal and the architecture clean. The visual goal was to preserve the Algarve palette at its most vibrant — turquoise-green ocean, warm coastal rock, deep blue sky, lush gardens and the saturated blues of the pool.
A major challenge came from constantly shifting cloud cover: a morning of overcast conditions followed by fast-moving clouds that repeatedly softened and cut the direct sun. This was especially demanding for drone work, where consistency is harder to control — so the aerial sequences were largely captured in “openings” of clear sky, with the grade carefully balancing shots where clouds partially covered the sun to maintain continuity and colour depth.
The interview was filmed as a two-camera setup in log (wide + telephoto), using COB lighting and LED panels through diffusion to shape a soft, flattering key while keeping enough separation and detail in the space. Exposure was managed to hold information in the bright window highlights without letting the interiors collapse — allowing a natural contrast between warm practicals inside and cooler daylight outside, so exterior blues and garden greens stayed alive while the interior remained inviting and premium.
FILM FRAMES
Selected Film & Television Cinematography Credits
Alongside the featured work above, I have also contributed cinematography to international film and television productions, working within existing directing, production and camera teams.
Knockout Blonde: The Kellie Maloney Story
Art Factory Films / Verdi Productions
Cinematographer — Portugal filming
Portugal: Die Regatta der Moliceiros — 360° GEO Reportage
ARTE / MedienKontor
Additional Director of Photography — Aveiro & Torreira, Portugal · 3 filming days
Windfall Films
Director of Photography & Aerial Cinematography — Portugal segment
More Cinematography Work
Explore additional commissioned visual work spanning music videos, fashion films, branded and promotional content, corporate and institutional productions, and documentary & narrative film projects. Based in Lisbon and available for projects across Portugal, Europe and worldwide. High-end cinematography and film production services tailored to your creative vision, whether the project is artistic, commercial, or documentary in nature.
- Films & Documentary Cinematography
- Music Video Cinematography
- Commercial / Advertising Cinematography
- Corporate & Branded Film Cinematography
- Client Reviews
- About (Director of Photography)
Lisbon Cinematographer & Director of Photography — Practical Questions
Practical answers for producers, directors, agencies and production companies planning cinematography work in Lisbon, elsewhere in Portugal or internationally.
How much does a Director of Photography cost in Lisbon?
Director of Photography rates in Lisbon depend on the creative and technical scope, preparation, filming duration, camera and lens package, lighting, grip and crew. A standard cinematography day is normally planned around a 10-hour production window, including equipment setup and breakdown and a 1-hour meal break. Half-day and multi-day arrangements are also available.
Dedicated DoP work is generally quoted above straightforward videography coverage because it involves additional visual planning and responsibility, including camera and lens strategy, lighting design, exposure, visual continuity and technical preparation. Each project is quoted according to its actual requirements. To request a tailored quote in € or $, send the filming date, location, approximate schedule, project type and any known camera, lens, lighting, grip or crew requirements.
Can you join an international production as a local DoP in Portugal?
Yes. I am based in Lisbon and can join an existing international production as a local Director of Photography or cinematographer in Portugal, working alongside producers, directors, agencies and established production crews. The role can be defined around the needs of the project, from a streamlined camera setup to larger productions involving dedicated camera, lighting and other departments.
Do you provide camera, lenses and lighting equipment?
Yes. Professional camera, lens, lighting and monitoring equipment can be included according to the needs of the production. When a project requires a larger or more specialised package, additional cinema cameras, lenses, filtration, lighting, grip and related equipment can be sourced or rented as part of the production plan.
Can you work with an existing camera and lighting package?
Yes. If the production already has its own or a rented camera and lighting package, I can work within that setup and help define the camera, lens, filtration, monitoring, exposure and lighting approach during pre-production. When practical, camera tests and a technical recce are useful for confirming the visual and technical workflow before the filming day.
Do you work outside Lisbon and internationally?
Yes. I am based in Lisbon and work throughout Portugal, including Porto and the Algarve, with international availability for selected productions across Europe and worldwide.
For shoots within approximately a 35 km radius of central Lisbon, I normally do not charge additional mileage for my own local travel. Parking, tolls, ferries or other location-specific transport costs may still apply. Travel beyond this local area is assessed according to distance, schedule and project requirements.
For productions outside Portugal, travel days are normally charged at the half-day rate. Flights, baggage, accommodation, local transport and other travel expenses are quoted separately and agreed as part of the production budget.
What is the difference between hiring you as a DoP and as a videographer?
A Director of Photography role is centred on the visual strategy and execution of the project: camera and lens choices, lighting design, exposure, movement, filtration, colour intent, visual continuity and coordination with the relevant camera and lighting departments. Videography is often a more self-contained production role in which one person may handle camera, lighting, sound and sometimes post-production.
The two roles can overlap on smaller productions, but dedicated DoP work normally involves more visual development, preparation and responsibility. The appropriate setup depends on the creative ambition, crew structure and technical requirements of the project.
Can you work as both Director and DoP on the same project?
Yes. On suitable productions I can combine film direction and cinematography, taking responsibility for both the creative vision and the visual execution of the project. That can include shot selection, blocking, pacing and work with performers or contributors, together with lighting, lens choice, camera movement, exposure and visual continuity. A small crew can still be built around the combined role with camera assistants, gaffer, grip or additional operators when needed.
I have worked this way on many of my music videos and on Sikat Subar — A Hidden Colorful Feather, where I was both director and cinematographer and the film later received recognition in both overall film and cinematography categories. When appropriate, I can also continue through editing, colour correction, colour grading and the wider post-production process. For larger productions, separating the Director and DoP roles may be more appropriate so that each can concentrate fully on their own area of responsibility.
Does a Director of Photography also do colour correction and colour grading?
Sometimes, yes. The Director of Photography is responsible for the visual intent of the image, but whether the DoP also performs colour correction and colour grading depends on the scale, budget and post-production workflow of the project. On smaller productions, music videos, independent documentaries, branded content and other compact workflows, I can handle both cinematography and the colour work when this is included in the agreed scope. On larger productions, a dedicated colourist may carry out the final grade in collaboration with the DoP.
Colour correction is the more technical stage: balancing exposure and white balance, removing unwanted colour casts and matching shots so that the footage has a clean, consistent and natural baseline. The aim is essentially to correct and unify the image before the final creative treatment begins.
Colour grading is where the final look of the film is developed. Starting from that corrected and consistent image, contrast, colour relationships, skin tones, saturation and tonal balance can be shaped more creatively to support a particular mood, atmosphere or visual concept. While colour correction generally aims to bring the image closer to a natural and coherent representation, grading takes that foundation and gives it a more deliberate artistic and conceptual identity.
Can you help build a local camera, lighting and grip crew in Portugal?
Yes. Productions can scale beyond a solo setup when required. Camera assistants, lighting crew, grip, sound and other production specialists can be assembled or sourced locally according to the creative and technical needs of the shoot, while keeping the cinematography approach consistent across the team.
For more detail about booking, production workflow, payments, delivery, permissions, revisions and other practical questions, see the Production Policies & FAQ.
Let's define the visual language of your next project?
Share your visionFilmmaker, Producer, Director & Cinematographer (DoP) / Videographer
Based in Lisbon · Available for projects across Portugal, Europe and worldwide.