About

Motion
Sensibility
in a Still Frame

I've been shooting photographs for fun for over 20 years — recently I decided to shoot photos professionally.

What makes my approach a little different is where I come from. I'm a Director of Photography by trade — I spend most of my working life on motion sets, thinking cinematically about light, composition, and story. A few years ago I started formally combining still and motion work on the same shoots, and the results have been a game changer for clients.

KontrolFreak commercial photography by Byron Werner Director of Photography Los Angeles

Most productions
choose one.
You don't have to.

Most productions choose between a DP and a photographer. Working with Byron means you don't have to. By shooting stills using the same continuous lighting instruments built for motion and the same crew, the images don't just complement the video — they belong to the same world. One setup. One aesthetic. Complete consistency from frame to frame.

There's a smarter
way to do it.

Get in touch →

Director of Photography Site→ byronwerner@me.com→ @byronwernerdp→

When it comes to light, Byron gravitates toward continuous sources — what you see with your eye is what you get. Strobes when needed, but continuous light gives these stills a warmth and depth that feels more cinematic than flash-heavy work.

If you're planning a campaign, a brand shoot, or a production that needs both motion and stills — rather than booking separate crews and days, we handle both in a single, efficient production. One cohesive visual language across all your assets, a tighter timeline, and a more streamlined budget. The kind of efficiency that makes creative directors and producers very happy.