I’m a Photographer, Not a Video Guy — But I Still Shoot Video (Here’s Why)
Let me be clear right from the start: I am a photographer. That’s how I think. That’s how I see the world. That’s how I’ve built my career over the last three decades. I speak in light, in still frames, in composition, in moments frozen forever. I’ve spent most of my professional life getting paid to make a single image say a thousand words. I’m not a videographer at heart.
But I still shoot video—and there’s a good reason for that. In fact, there are several.
If you're a fellow stills-first creator, someone whose soul is stirred more by the click of a shutter than the hum of a gimbal, I hope this post assists you in navigating this unique yet essential terrain. We don't need to label ourselves as "video experts" to produce captivating visuals that captivate audiences.
Still Frames Built My Career
Photography has been my first language for over 30 years. Before “content” was a buzzword and DSLRs had red buttons for video, I was capturing life through a 90mm Sekor lens and delivering images to clients who needed their products and brands to look incredible.
My tools were strobes, flags, seamless paper, and patience. My medium was a single frame. I sculpted light with intention. I built moods with shadows. And I didn’t need 24 frames per second to tell a story. One was enough.
Even now, that remains true.
A single still image can create emotion, drama, and curiosity. It can pull a viewer in and make them stay. That’s the power of photography. It’s timeless. It doesn’t rely on motion to create movement inside the viewer. That’s what I fell in love with. And that’s the art I still return to every time I pick up a camera.
So why add video?
If I love still photography so much—and I do—why bother with video at all?
Because my clients live in a world that demands motion.
In 2025, brands aren’t just looking for “a photographer” or “a videographer.” They’re looking for a content partner—someone who can help them show up across platforms in ways that make sense for the medium.
That means vertical videos for Reels and TikToks. Product explainers for YouTube. Behind-the-scenes videos for LinkedIn. Quick ambient loops for email headers. Testimonials. Walkthroughs. Microcontent.
I don’t always love shooting video. I don’t always want to storyboard, record wild sound, or worry about frame rates and codecs. But here’s the truth: when I started saying “yes” to video, I started helping my clients in more ways—and that’s always good for business.
Video Is a Tool, Not a Personality
You don’t have to be a “video guy” to shoot compelling video.
Let me say that again.
You don’t need to change your personality, your style, or your identity to shoot video.
Too many still photographers feel like if they take on motion work, they need to start acting like filmmakers—writing scripts, talking about LUTs, buying shoulder rigs. But the truth is, you can bring your photographer’s mindset to video and deliver incredible work.
When I shoot video, I’m still thinking in frames. I’m thinking in light. I’m thinking in composition. I’m using the same Sekor glass that’s given me timeless beauty in stills. I just let those frames move a little.
If you're already thoughtful with light and framing, you’re 80% of the way there. The other 20%? That's just learning a few new buttons.
Clients Don’t Want a Videographer. They Want You — in Motion
The best reason to offer video as a stills-first creator is this: your clients already trust your eye. They’ve seen your work. They love how you shape light and capture products. They’ve already hired you for photos.
So when they need video, why would they want to start fresh with someone new?
Many of my long-term clients—especially the ones I do food and beverage work for—began asking, “Do you do video too?” Not because they didn’t like my photos, but because they wanted more of them—in motion. They wanted the same look, same vibe, and same attention to detail.
What they didn’t want was to bring in a second vendor. A second creative brain. A second invoice.
Offering video meant I could serve the same brands in a deeper way—and lock in a bigger share of their content budget.
That’s not selling out. That’s leveling up.
I Don’t Have to Like Video to Be Good at It
Confession time: I still don’t love editing video.
Give me a white seamless background and a hero product, and I’ll make magic all day. Give me 50 clips to edit into a compelling 90-second story with audio sweetening and cutaways. I’m going to need a strong cup of coffee (or three).
But here’s what I’ve learned: I don’t have to love video to deliver it. I just have to know what my clients need and how to give it to them with the tools I already have.
I’ve streamlined my gear. I’ve developed a simple video process that fits my style. I don’t try to be Spielberg. I don’t overcomplicate.
Sometimes I shoot handheld with my Sony A7RII, leveraging the gorgeous Sekor lens character that sets my visuals apart. Other times I use my Insta360 or GoPro on a dolly for a smooth reveal or product walkthrough. I keep my kit light and my workflow simpler.
Video isn’t my art. It’s my service. And service is what pays the bills.
There’s Room to Be Both
You don’t have to pick one box.
I resisted calling myself a “videographer” for years because it felt like I’d be abandoning something sacred—the craft of still photography. But I’ve come to realize something: this isn’t an either/or.
I’m a photographer first, always. But I’m also a professional. And being a professional means adapting to the needs of the people you serve.
If that means shooting 15-second Instagram teasers, so be it. If it means grabbing quick b-roll between still shots, I’m game. If it means adding a few motion clips to a portfolio shoot to make a campaign pop? Let’s go.
There’s room to be both: an artist and a utility player. A stills master and a motion generalist. You don’t have to become a video guy. You just have to be the photographer who says, “Yeah, I can do that too.”
Video Feeds My Photography
Here’s the secret bonus I didn’t expect: shooting video has actually made my photography better.
When you work in video, you’re forced to think in sequences. You think about movement—how a scene unfolds, how light changes, how objects flow from one composition to the next. That’s a muscle you can bring back into still work.
I’ve found myself pre-visualizing still images as part of a larger visual system. A client doesn’t just need one great shot—they need a whole visual story. Video teaches you to build that arc.
And audio? That’s a whole other level. It reminds you that still images live in a world of sound. Thinking like a videographer—even just for a moment—makes you a stronger, more holistic storyteller.
Tips for Still Photographers Dipping into Video
If you’re still with me, and you’re starting to consider adding motion to your services, here are a few quick tips from someone who’s walked the same road:
-
Use the Gear You Have
You don’t need a cinema rig. Your mirrorless camera likely shoots amazing 4K. Start there. Use your favorite glass. You already know how to control light—just let it roll. -
Keep It Simple
Don’t jump straight into multi-cam interviews or complex sound design. Start with tabletop videos, ambient loops, or behind-the-scenes clips. Ease into it. -
Focus on Style Over Specs
What sets you apart isn’t your frame rate—it’s your eye. Keep your aesthetic. Let your still photography style bleed into your motion work. -
Offer Bundled Content
When you quote a shoot, pitch a motion add-on. “While we’re shooting the stills, I can grab a few clips for socials—same lighting, same setup.” -
Outsource the Editing (If Needed)
You don’t need to suffer through Premiere if it’s not your thing. Hire a freelance editor. Or keep your cuts simple and clean.
Final Frame
At the end of the day, I’m not a video guy.
But I shoot video. And I’m proud of that.
Not because I’ve fallen in love with motion—but because I’ve fallen deeper in love with helping brands show up in powerful ways.
I still live for that perfect still frame. The shot where light, color, shape, and texture all land in harmony. That’s where I thrive.
But now, I can also deliver a five-second hero clip. A dolly shot with mood. A looping product teaser. A behind-the-scenes moment that humanizes a brand.
It doesn’t have to be either/or.
If you’re a photographer who feels like video is creeping into your lane, don’t panic. Just stay true to your style. Learn enough to say “yes.” And keep thinking like a photographer—because that’s the eye your clients fell in love with in the first place.
