Alright – so today we’ve got the honor of introducing you to Chad Windham. We think you’ll enjoy our conversation, we’ve shared it below.

Chad, thanks for joining us, excited to have you contributing your stories and insights. Can you tell us about a time where you or your team really helped a customer get an amazing result?

One of the most meaningful customer success stories in my career has been my work with Café Momentum, a nonprofit dedicated to juvenile justice reform. Since its founding, I’ve had the privilege of documenting the development of the young people going through their program—capturing their resilience, growth, and transformation.

Café Momentum provides justice-involved youth with restaurant skills, counseling, and education, helping them earn their high school diplomas and transition into sustainable careers. My role has been to create a visual identity that reflects their journey—one that not only tells their stories authentically but also highlights the impact of the program itself.

Over time, the imagery I developed has become the signature look of Café Momentum’s storytelling. As they’ve expanded nationally, that same visual language is now being used across the country, reinforcing their mission and amplifying their message of change. Knowing that my work helps shine a light on these young individuals and the systemic challenges they face has been incredibly rewarding. It’s a testament to the power of photography in driving awareness and fostering real change.

Chad, before we move on to more of these sorts of questions, can you take some time to bring our readers up to speed on you and what you do?

I began my career in 1992, studying photojournalism at the University of Texas at Austin. Over the years, my work has evolved to include editorial photography, travel assignments, and cinematography.

I first gained recognition as a travel photographer in 1993 when I spent two weeks on horseback in Yosemite for Southwest Spirit Magazine. While on assignment for Travel Holiday, I had the unique opportunity to capture exclusive coverage of Hurricane Faye, which helped establish my reputation in the industry.

My photography portfolio spans corporate and editorial portraits, travel, and sports, with clients including Newsweek Magazine, LA Times, Texas Instruments, Baylor Hospital, American Airlines, Business Week, Travel Holiday, Southwest Spirit Magazine, and Muscle & Fitness Magazine.

In 2009, I expanded into cinematography, shooting my first feature film, The Man That I Was. Since then, I’ve served as Director of Photography on I Am Gilgamesh (2010) and I Think My Facebook Friend Is Dead (2011), along with several short films and television series.

Recently, I’ve focused on branded narrative and advertising, a style that resonates deeply with the clients I work with today. Traditional, hard-sell advertising often causes audiences to disengage, but storytelling has the power to captivate and connect. I believe that when an ad tells a compelling story, people are far more likely to stay engaged—and that’s where my creative approach thrives.

I currently work as a freelance photographer and filmmaker, based in Dallas, Texas, and Los Angeles, California.

Can you tell us about a time you’ve had to pivot?

I started my career as a still photographer, focusing on travel, celebrity portraits, and advertising. One day, a friend invited me to meet a group of filmmakers working on a project he was starring in. Since I knew the city well, I helped with their location scout, and we quickly became friends. Before I knew it, they invited me to join the production.

At the time, I had never shot motion before. But I owned the newly released Canon 5D Mark II, and the crew believed I could contribute—so I jumped on board.

We shot the film off and on for about six months. When the original Director of Photography had to leave for another project, I was left to finish the film. Overnight, I became a filmmaker.

I’ve never looked back. Telling stories is what I love most, and photography and film are the best vessels for that.

How do you keep your team’s morale high?

I’ve never felt like anyone on my team works for me. Our industry is so hands-on that success depends on all of us working together. No matter the job on set, every role is important, and every person deserves respect for the work they’re doing.

We’ve all been there—taking out the trash, sweeping the floor, running for coffee. Now that I’m the one running sets, I always keep in mind that I was once the gofer too. I know firsthand that every task, no matter how small, contributes to the bigger picture.

I’m not sure who first told me to do this, but a long time ago, I made it a habit to personally thank every crew member at the end of a shoot. Without them, none of it would be possible.

Contact Info:

• Website: https://www.chadwindham.com
• Instagram: @chad_windham_DP
• Linkedin: https://www.linkedin.com/in/windhamphoto

Image Credits

All images are copyright: Chad Windham