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You can produce a movie without a still photographer but you can’t market it without one!

 Alfonso Bresciani at Second Line Stages. Being prepared for anything on set is a must!

Alfonso Bresciani at Second Line Stages. Being prepared for anything on set is a must!

 Aubrey Joseph & Olivia Holt.  Alfonso Bresciani / Freeform

Aubrey Joseph & Olivia Holt.
Alfonso Bresciani / Freeform

Terrence Howard on “ TERRENCE HOWARD'S FRIGHT CLUB “premiering Thursday, May 24 (8:00-9:00 PM ET/PT) on FOX. ©2018 Fox Broadcasting Co./Alfonso Bresciani

With a background in action photography in Maui (10 years) he has an edge on 2nd unit/fight unit or any action rich motion picture. He has done it all, from shooting via choppers with radical Veterans pilots hanging 30 feet away from breaking waves, to swimming into the waves shooting surfers! He was the first photographer ever to shoot Peahi, a huge Hawaiian break situated on the North Shore of Maui and commonly known as Jaws! Back in the days (1993) it was an unknown surfing spot and it had been jealously kept secret by the Hawaiians.

A couple of years later after he shot it, National Geographic ended up doing a feature article on this exceptionally dangerous and amazing reef, which can produce enormous waves, among the largest ones on the planet. His photography work has been displayed and published throughout the world; among the most prestigious ones are the Multimedia Art Museum in Moscow, Russia and National Geographic Society's publications. To see some of his other photo works please visit

Replicating what the main camera sees is the expected and minimum job requirement for a unit still photographer, however, this is not only what Alfonso Bresciani strives for. While working on set he constantly searches for alternative angles and viewpoints that can capture the mood and feel of the scene without altering its true meaning. What he finds even more interesting and rewarding is catching actors off guard, in between takes, during subtle interactions and expressions they may have with the Director, in a more intimate view or even during rehearsals. Additionally, many images he produces on set are to document the making of the production. This includes capturing images of the actors off set, the director, or crew shooting behind the scenes, setting up interesting and unusual rigs, props and artsy shots with dramatic lighting. Basically anything that can be used for marketing purposes, first looks for press releases etc. How does he approach shooting on set? The basic rules of photography are unchanged, they can be broken sometimes and doing so can work quite well.  

"You gotta know the rules before you can break them"

His vision on set is complemented by the top of the line and latest professional camera bodies ( capable of shooting action and stunts at up to 20 frames per second! ), fast zoom lenses, and even faster prime lenses for super dark sets), ful DSLRs and mirrorless systems, that allows him to work on set silently.

A New Orleans based unit still photographer member of the International Cinematographers Guild IATSE Local 600, and a New Orleans and New York City local hire. His “Setiquette” and ability to work collaboratively and unobtrusively in a production set environment are an asset for any production. 

He is available to shoot hair/make/costume approvals with own full professional lighting kit ( Profoto strobes, Elinchrom strobe modifiers, C- stands, seamless background etc. )

As Producer David Puttman once said:
” More people will see the stills of the movie than will ever actually see the movie; so stills are very important