My primary medium for decades has been documentary film. That’s where I’ve told most of my stories, behind moving images, sound, and a carefully constructed edit. But recently, I’ve returned—almost instinctively—to still photography. Not digital, but analog: 35mm film, the kind I experimented with in a parallel universe during the late 1970s and early ’80s, when I was just beginning to find my way into filmmaking.

For the last two months, I’ve been returning to analog photography. Not for interviews or narrative-heavy sequences (that would be impractical), but for transitions, establishing shots, and the poetic moments that so often pair well with the precision of the FX3.

Join us for a look into the work we're creating in the Editing Room. In this brief excerpt from the sequences pertaining to The City Beautif

During last week's short visit to the MET I had the opportunity to recapture Fragilina, one of several idealized female nudes by Piccirilli.

Production stills from the documentary film "Joy Brown”, featuring behind-the-scenes images, and crew in Connecticut, Virginia, and in multi

Preliminary study of architectural details by the Piccirilli Brothers on the western façade of the Riverside Church in New York City. Photos

The Piccirilli Brothers dedicated three consecutive years to design and execute more than 500 decorations for the Riverside Church.

Edward Thomas was a Renaissance man, and inventor of sorts; he was a tremendous artist with a smile that trascended boundaries and words.

“En 1962, durante mi último año en la Escuela de Cine de La Plata sostuve una correspondencia con el fotógrafo Ansel Adams, la que se...