Alejandro Lalinde

Alejandro’s story? Wild ride, honestly. Born down in San José, Costa Rica, then boom—U.S. transplant in ’85. The guy’s obsession with light started early, like, that nerdy kid who’d stare at shadows on the wall and wonder why they looked so cool. He was all about how light messes with your feelings, twisting stories, flipping the script on what’s boring and making it pop. You can kinda see the fingerprints of legends—Ansel Adams, Cartier-Bresson, Edward Weston—on his stuff, ’cause he started out snapping stills before he got hooked on the moving picture game. After hustling through the Academy of Art in San Francisco, he bailed for L.A. and just clawed his way up. Camera assistant, then boom—full-on cinematographer, collecting awards like it’s no big deal. His resume is nuts: shooting for brands like Oracle, Microsoft, Toyota, Ford, Fenty, Ralph Lauren, American Express, Disney, HBO, Warner Bros, NBC/Universal. And not just companies, but actual icons—John Travolta, Rihanna, Halle Berry. Dude’s got range. His visuals even landed at LAX’s Tom Bradley Terminal (yeah, the big one) and in American Cinematographer Magazine, which is basically a flex in that world. His film “Slipping Into Darkness” snagged Best Film at the Official Latino Film and Arts Festival and got picked up by HBO MAX, so, not exactly flying under the radar. In 2023, he got props as a finalist in the CDDP, a major program that hypes up diverse directors and DPs. Alejandro? He’s not just shooting scenes; he’s straight-up building worlds outta light and emotion. Every frame’s a gut punch—cinema that actually makes you feel something, not just watch.