Living the Craft of Cinematography with Adam Feuerman
Adam Feuerman is a Los Angeles-based director and cinematographer known for his versatile, visually driven storytelling.
With a background that spans commercial, narrative and music video work, he brings a deep understanding of the craft from both behind the camera and in the edit.
Adam’s work is rooted in authenticity and emotional clarity, often defined by his ability to capture story through tone, movement and light. His portfolio includes collaborations with global brands, including Sony, EA, Google, Lululemon, Apple Music, and PlayStation.
Speaking with LBB, he discusses where his love of cinematography first started and his journey to perfecting his craft...
LBB> What is your niche craft obsession?
Adam> Cinematography. I’ve always been drawn to the idea that you can tell a story purely through images. It’s not about being flashy or clever. It’s about using light and composition to guide emotion, to reveal character. When it’s done right, you shouldn’t really notice it. It should feel honest.
LBB> How did you first come across cinematography?
Adam> When I was a kid, my father had an old stills camera; nothing too fancy, but it had weight to it. I remember just being curious about what it could do. I liked the process of looking through the viewfinder, framing something, and seeing how different the world looked in that small rectangle. That curiosity stuck with me.
LBB> Was it an obsession straight away or something that has evolved over the years?
Adam> I wouldn’t say it was an obsession at the start. It was more of a quiet interest that grew over time. I didn’t even know what a cinematographer was until much later. But I knew I wanted to see the world and experience it in a different way. Cinematography became that path. It offered not just visual storytelling, but a life full of unique, immersive experiences.
LBB> What are the most interesting debates or conversations you’re having around this obsession?
Adam> I think one of the bigger conversations right now is the balance between technology and storytelling. There’s always some new camera or tool or technique being talked about. And some of it is genuinely useful. But it can also become noise.
The danger is in believing the gear will make the work better. It doesn’t. The work comes from your eye, your instinct, your understanding of the story. If you don’t have that, no amount of equipment will save you.
LBB> How widespread do you think this obsession is with your peers?
Adam> It’s not something that appeals to everyone, nor should it. Cinematography, at its core, demands a certain level of discomfort, uncertainty about the next job, long hours, constant travel. You really have to love the process. The people I admire in this field aren’t chasing trends or titles; they’re living the craft. They’re in it because they can’t not be.
LBB> For anyone just getting into your field, what advice would you share to help them get their head around this particular thing?
Adam> It takes time. There’s no shortcut around that. You learn by doing, by failing, really, and gradually you begin to understand not just how to light a scene, but why you’re lighting it that way. That part takes years.
I often say cinematography is more about observation than control. You need a foundation, of course, technical ability, and a sense of composition but more importantly, you need to develop your eye. And that comes from being curious, from watching the world around you.
You’ll be tested.
You’ll have projects fall apart or shots that don’t work.
That’s part of it.
But if you keep showing up, keep learning, and stay focused on the image, eventually, it starts to click. Not all at once, but piece by piece.
So be patient. Do the work. And don’t worry about being impressive; just try to be honest in what you’re creating.
