Meet Dominika Podczaska | Cinematographer

We had the good fortune of connecting with Dominika Podczaska and we’ve shared our conversation below.

Hi Dominika, every day, we about how much execution matters, but we think ideas matter as well. How did you come up with the idea for your business?
My journey into cinematography began when I was a teenager. I remember watching both Krzysztof Kieslowski’s, Brian De Palma’s, Agnes Varda’s, Pedro Almodovar’s, movies and being completely captivated by how the camera captured emotion and movement. It was then that I realized how powerful visual storytelling can be. Movies like “Three colors: Red”, “Scar Face”, “Casualties of War”, Vagabond” or “Carne tremula” ignited a passion for exploring human nature and how stories are told through images.
I started experimenting with my own analog camera, first with photography because that time in Poland no one could afford their own film camera. In the beginning I was just fascinated in human psychology and light itself. Over time, I immersed myself in learning more, whether through documentary and journalist school or later, once I finally bought my own film camera, working on small documentary projects, music videos, mostly both directing and camera operating, and editing.

For a decade I was shooting music videos, commercials, social campaigns, working for big agencies and being represented by the most reputable talent agency in Poland “Point of You” that represents many great polish Cinematographers. But meantime, following my intuition, I did two years of screenwriting course, not because I wanted to be screenwriter but because I missed to be closer to narratives. Also meantime, I shot few short movies and feature film. And indeed, this two years in screenwriting had a huge impact on my work as Cinematographers now.

Today, my passion for cinematography is stronger than ever. All my past experience: analog photography, writing, directing, editing, sound mixing (my first job was an editor in radio when I was 18 years old), camera operating, come together and create me as a mature and self-conscious person. And I like to call myself vagabond, because this what cinematography is for me – traveling from one to another project into unknown but open to absorb all new experiences. Also creating light is the biggest pleasure in cinematography – it’s like almost dedective job, recreating natural light from different enviroments.

Let’s talk shop? Tell us more about your career, what can you share with our community?
My cinematography is driven by an intimate connection to the story – I really need to feel it on the bottom of my soul to commit myself into the project. I read carefully the scripts and need to feel connected somehow. I focus on creating immersive, emotionally engaging imagery that serves the narrative, no matter the genre or scope of the project. What sets me apart in US is my past experience and taste I brought from Europe – the fact that I spent so much time on European festivals watching movies with all these cultural diverse background and traveling to many places created my taste somehow and my “cinematographer’s eye”.

I’m proud of few projects but whatreally made me happy is the fact that I discover my love to period movies by shooting a short movie in Belgium with Spanish director Patricia Delso Lucas. Working with candles, being inspired by lighting in XVIII/XIX century while balancing the emotional tension between the characters demanded a huge research. I loved the process itself. I’m also proud of few project where I had a great collaboration with production designers like “Hotel Des Thermes” or “Lars@gmail.com”. And I’m really proud of my Visual Essay shot entirely on 35mm Kodak Film in American Film Institute. It lasts only three minutes and without dialogues but I was able to work on sound design with my son Mikolaj Tchorzewski who created such an immersive and deep sound, so the image and emotions even escalated to full cinematic experience. Our Visual Essay has been selected to AFI Cinematography Showcase 2024.

Getting to where I am today has been a journey filled with both highs and challenges. I started by working on smaller independent films and music videos, where I had to be resourceful and hands-on with every aspect of the production. Over time, I began working on larger projects, which allowed me to collaborate with bigger teams and access better equipment. Each step was an opportunity to learn, and I’ve always been hungry for knowledge, whether it’s studying the masters of cinematography or embracing new techniques. And I love working with new technologies, VFX, CGI, Virtual Production. And still absorbing the knowledge from kind professionals.

It definitely wasn’t easy. Early on, I faced challenges in gaining trust. There were moments when budgets were tight, and I had to find creative solutions to achieve high-quality results. But I learned to adapt quickly, and I’ve always believed that obstacles can fuel creativity. Also I was lucky to be surrounded with a great team in Poland, my true friends, with whom I always could not only discuss about technical things but also have just a good time being together on set, talking about our family life. I wish I could find my network of kind and open-minded people here in US.

The most important lesson I’ve learned is that collaboration is key. No matter how skilled you are, filmmaking is a collective art, and working closely with directors, production designers, and editors can elevate the final product. I’ve also learned to trust my instincts. Sometimes, the most powerful shots come from being open to spontaneity on set. Flexibility and preparation go hand in hand—knowing when to plan meticulously and when to let the moment guide you.

I wish to be recognized first of all as a good collaborator, a cinematographer whom you can trust, who is a good fellow for bad and good and who brings both technical precision and emotional depth to every project. And good vibe, no dramas. My goal is to create visuals that resonate with audiences on a deeper level. I’m passionate about using cinematography as a tool to amplify stories that matter—whether that’s in feature films, documentaries, or new media. And remember, I’m a Vagabond – brave and happy to travel with my film collaborators into the unknown.

Any places to eat or things to do that you can share with our readers? If they have a friend visiting town, what are some spots they could take them to?
When I’m not standing behind the camera I’m in nature. Los Angeles is a perfect place for 1-day trips or hiking around, like old zoo in Grifith Park or Millard Falls in Altadena. I adore Win-dow in Silverlake to grab a burger and all Thai Food restaurants in Los Feliz on Hollywood Blvd.

Shoutout is all about shouting out others who you feel deserve additional recognition and exposure. Who would you like to shoutout?
There is an amazing collective of female Cinematographers in Poland, which I had a pleasure to co-found. The name of this collective is fDOP and it inites all proffessionally working female Directors of Photography (both working nationally and internationally) who want to be more visible in motion picture industry. But this is not a collective against men, we love working with diverse collaborators. We just simply want to be recognize as filmmakers by showing our proffecional work. It’s also an amazing community of women who share witch each other work experience, reccomend jobs to each other. It’s the first in history collective of female cinematographers in Poland.

Website: https://www.dominikapodczaska.com

Instagram: https://www.instagram.com/dominika_dp_podczaska/

Other: https://vimeo.com/podczaska