How To Differentiate Yourself As A Cinematographer In 2025

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Today, I want to dive into something I think a lot of filmmakers overlook: and that’s how to differentiate yourself as a cinematographer. In a world full of filmmakers all trying to make their mark, finding your specific place in it all is incredibly important. But how do you do that? How do you create a space for you and be noticed when the room feels so crowded?

As a self-taught filmmaker, I had this same problem over a decade ago when I started shooting videos and making films. I was a nobody with no industry connections and barely knew how shutter speed affected my image (actually I had NO idea).

But, over time, I realized there were quite a few things I could do that would differentiate my work from the many other people who were seemingly doing the same thing – and it wasn’t just being better than them. If all you try to do is be better than the next person, then you will ultimately fail, because there will ALWAYS be someone better than you unless your name is Greig Frasier.

So instead of just trying to be the best, let’s break down five different ways you can set yourself apart and build a reputation that’s all your own.

And then once you’ve learned those five ways, I’ll throw it all out at the end to tell you when none of it matters.

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1. Choose Different Tools, Especially Lenses

All over Youtube and in a lot of budding filmmaker career’s, people all seem to be after the same thing: the sharpest and most technically perfect image. But If you’re using the same tools and lenses as everyone else, then your work will also look like everyone else’s.

One way to differentiate yourself is by choosing lenses that stand out, whether that’s vintage lenses or unique lenses like the Voigtlander Heliar Classic, which I used extensively on the ASC-award winning documentary KING COAL.

Or look at famous cinematographer Greig Frasier, who famously used the $50 Helios 44 on The Batman, despite the lens’s apparent imperfections. But it was these imperfections that helped Frasier achieve the gritty, imperfect look of that film’s Gotham.

Another type of lens that has become very popular lately because there are lens manufacturers that are making them more affordable, is anamorphic lenses. And while they are becoming more popular, they are still uncommon enough and have a very unique look that will make the images they create feel different than what you usually see online, on Youtube, or in micro-budget work.

 Anamorphic lenses create that cinematic, widescreen feel with beautiful lens flares and a unique depth that you just can’t get with standard spherical lenses. When you shoot anamorphic, the audience feels the difference, even if they can’t exactly pinpoint what’s different about the image itself.

And here’s the kicker: learning how to master the unique quirks of anamorphic lenses (like their squeeze ratios and framing differences) not only elevates your work but also makes you an expert in something not everyone is willing to take the time to learn.

And being willing to do what others won’t, is a KEY differentiator. So let’s explore that point.

2. Do What Others Aren’t Willing To Do

Once you start making money as a cinematographer or filmmaker or one-man-band content creator, there comes a point where you are good enough to rest on your laurels and just continue to do the same thing you have been doing for years. If it continues to cover the bills or you keep getting jobs, then there doesn’t seem to be any reason to try new things, expand your skillset, or take risks in your work. 

That may be fine if you work in local news or for the same company for thirty years, but today, you have to continue to improve or you risk of slowly losing your position as a freelancer or content creator.

When I was a young filmmaker, I often found my place in the industry by being willing to do things that other, more established, filmmakers would not – make higher quality work for less money and more time. Do something on the edge of danger. Or spend my free time learning new tools and techniques that would elevate my work.

For example, learning how to use the first gimbals that came to market was NOT the simple turn on and go process that it is today. Same with flying drones. But by putting in the time and effort to learn these new skills, it instantly made me more hirable because it elevated my work, especially in the commercial space.

Being willing to do what others won’t can mean a lot of things: whether it’s learning new and complicated tools, being willing to go into dangerous areas, spending more time or getting paid less – whatever it is, there are ways to differentiate yourself as the person who is GAME for whatever it takes – and that will make you stand out against the old guard who are content to cruise.

And sometimes this means being willing to actually GO to a place that others won’t.

3. Focus on a Place or Location

Another way to stand out as a cinematographer is to zero in on a specific location or place and make it your canvas. Let’s say you live in a city like New York or somewhere remote like the deserts of the American Southwest. You could become known as the cinematographer who captures the city’s gritty streets or the stunning desert landscapes in a way nobody else does.

Think of Scorsese in the 70s and the way he showcased NYC. Or Jimmy Chin and his unique ability to combine his love for climbing with incredible images – there’s a guy who merged his dangerous hobby with filmmaking and became a filmmaker who was willing to do stuff that others were not.

But when you focus on a location, you start to understand the nuances of its light, its moods, its colors. You learn how it changes with the seasons, the time of day, and even the weather. This expertise lets you create images that feel unique because they’re drawn from a specific environment that you’ve learned inside and out.

As filmmaking partners, my wife and I have centered a lot of our work around our home region of Appalachia – and when KING COAL was released last year, we received tons of feedback from people saying they had never seen Appalachia depicted like that in a film before – and that is the power of truly knowing a place. I always joked on Q&As that our team had been location scouting for that film for 30-years – and that’s true. We know the state of West Virginia and the region of Appalachia really well, and by continuing to showcase the region through film, we are able to differentiate our work from others.

When you specialize like this, people come to you because they know you can capture that place in a way nobody else can. It becomes part of your signature. And as a bonus, it pushes you to get creative with how you film something you see every day. That’s where the magic happens.

4. Focus on a Specific Subject: Outdoor Adventure, Comedy, Music Videos, etc. 

Now, maybe places aren’t what you’re drawn to. Maybe it’s subjects. Another great way to set yourself apart is to become known for a specific genre or style. Are you obsessed with outdoor adventures? Then make that your focus. Spend time understanding the intricacies of filming in rugged environments, where you have to deal with elements like unpredictable weather, tricky lighting, and moving subjects.

Or maybe your thing is comedy – that’s a genre that requires a particular visual rhythm to land jokes just right. Knowing how to time your shots, where to place your camera for maximum comedic effect, and how to light a scene to make the humor pop – that’s an art form all on its own.

Or music videos. This is a playground for trying out bold colors, funky angles, fast edits, and experimental lighting.

When you build your brand around a specific subject, you start to attract clients who need exactly what you’re best at. And that’s how you build a reputation that sets you apart from the crowd.

5. Do What Nobody Else is Doing

Finally, and probably most importantly, don’t be afraid to go against the grain. Look, trends come and go. Right now, everyone is into shooting on soft light and making everything look dreamy and clean. But what if you decided to go the other direction? What if you used hard light in a way that gives your work a striking and distinctive look?

Or, like Greig Frasier, you started using lenses that everyone else at your level was ignoring. For him, that means using a budget filmmaker’s favorite lens – and for the lower budget films, perhaps that means springing for something different or higher-end, like the anamorphic lenses I mentioned above.

You can also take inspiration from films like Poor Things, which took a bold – albeit strange - approach with the cinematography, crafting something that doesn’t just look like every other movie out there. When you take risks and go against what’s “in,” you end up creating something people haven’t seen before.

The trick is to trust your instincts and not worry too much about what’s trendy. Be the filmmaker who tries new things, breaks the mold, and creates a style that is uniquely yours. When you do that, you’ll start to attract people who want that bold, different, and unique look that only you can provide.

Final Thoughts

There you have it: five ways to differentiate yourself as a cinematographer and filmmaker.

The truth is, standing out in this industry takes a lot of intentional choices. Differentiation comes from the choices you make – whether it’s your lens selection, focusing on a specific place or subject, your lighting techniques, or simply doing what nobody else is brave enough to do. You’ve got to put in the work, experiment, and find what feels true to you.

Now, one final thought specifically for cinematographers. Once you’ve found your style and start getting hired to film other people’s projects, you’ll ultimately need to abandon that style and throw it out completely.

Why do I say this?

Well, because I think it is not the cinematographer’s job to have a style at all. Your job as a cinematographer is to shoot a project or film in the style that best suits that particular project. Look at someone like Roger Deakins, who has shot gritty films like No Country for Old Men and then visual masterpieces like the sci-fi film Blade Runner 2049… or the dark realism of Prisoners… You may be able to watch those films and find some techniques and overarching style that Deakins employs, but none of them really have the same look and style. Instead, the greatest cinematographers are the ones that can put the director’s vision on screen and shoot a film in a way that best suits the story – not their own particular needs.

But hey – we’re not Deakins. So, feel free to focus on a style to differentiate your work for now, and then we can all aim higher when the opportunity to do so comes along.

Talk to you next time,

• Curren

p.s. If you enjoyed this post and know of someone who you think could benefit, feel free to forward it along!