Hi. I'm Eric Lehner.

I am a London based Director of Photography. This is me back in the eighties with a Super8 camera. Since then I've studied Film History and Aesthetics at UNIL and the Craft of Filmmaking at LIFS, and my choice of camera has changed somewhat. My most recent projects have been shot with ARRI's superb Alexa Mini and Amira, but I'm also a Sony FS7 owner with a nice selection of prime lenses, for those projects where the budget just doesn't stretch quite as far but you still want a cinematic look.

Have a look at my showreel

This is what I do.

A cross section of projects I've worked on as a cinematographer.

Trailer for the short film Clones - directed by Rafael Bolliger, produced by Rosas'n'co in Zurich. The film stars Rutger Hauer, DeObia Oparei and Stephanie Németh-Parker and did quite well on the Festival circuit - it was at Sitges, Sapporo, NIFFF, Raindance, LA Shorts, Strasbourg Fantastic Film Festival and many more. Find out more at clonesthemovie.com.

The camera work in this project is very straightforward - simple handheld shots with the Sony FS7 in the streets of East London. The video did go viral and had around 8 million combined views the last time I checked – but unfortunately that still failed to stop the Brits from making what I think was a big mistake. I guess time will tell. Directed by Matt Hoad Robson.

A music video for the song "Blow Um Mau Mau" by The Monsters, featuring the legendary Reverend Beat-Man. This promo was directed by Rafael Bolliger and produced by my long time friends at Decoy Collective in Bern, Switzerland. It was shot with DSLRs, a Canon 5D and 7D. The story line is of course inspired by a scene in a great movie classic - Natural Born Killers.

Stills from Instagram.

The challenge is to create a mood in a single frame. Can cinematography achieve that 25 times per second?

Going down Memory Lane.

A few of my older projects - they might not even be in HD, but for one reason or another they're still dear to me.

This was an ad directed by Duncan Jones which we shot right after film school in Chinatown. This one is very close to my heart because it won a Kodak award for best cinematography back then, and it's always remained one of my favourites. It was shot on film with the Arri SR3. what was tricky was capturing the flashes going off, as this was done in-camera, not an effect added in post. The visual reference is the noodle bar scene in Blade Runner.

A music video directed by Daniel Cherbuin for the girl group "Tears" with Universal Music. The video was shot on 16mm film (Kodak 7279) with an Arri SR3 and Zeiss lenses. We played around with the framerates in order to give it that frantic/punk/comedy feel. It was a lot of fun to shoot this one, but cleaning the camera after that pillow fight scene was less so - luckily I had Orit Teply as 1st AC on this one and as ever she did a fantastic job.

Here is an a-cappella cover version of Wham's holiday classic "Last Christmas" by Bliss. Director Daniel Cherbuin wanted it to be as close to the original video as possible, though using more up to date cameras (this was shot on Red One). We used the same locations but the trees around the chalet had grown a lot and the building has been modernised. A big Thank You for his help goes to Andy Morahan who directed the original video for Wham.

This video for the song Higher by Moonplain with Universal was directed by Oliver Wüest. It was shot on RED One entirely in studio. These guys had some really lovely guitars with them, both Gretschs as well as Duesenbergs, so it was seriously tempting to just turn this into a guitar advert, but I think we managed to capture the beauty of the instruments without detracting too much from the song and the band.

Another collaboration with director Duncan Jones, this was produced by Frank Films / One Little Indian. The brief was to give this as much of a look that suits the "nostalgic" quality of the music. Shooting on S16mm with a "vintage" lens seemed the right choice. This was filmed on one of the smaller stages in Shepperton studios in London. The split screens are adding to the period feel and I'm very pleased with the colours.

My first collaboration with artist and songwriter Maury, produced by Spielplatzfilme/EMI. This promo is very rich - director/editor Daniel Cherbuin has hidden hundreds of "easter eggs" in it, some that only make sense to crew and insiders, others that are fun to decipher for anyone - and at the rate this is cut together I think you can find something on almost every frame. It was filmed on S16mm film with an Arri SR3.

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