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Bio
LA/NYC. Represented by Bureau of Artist Management @agencybam
Links
www.chrispatey.com-
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Recent posts
I’m a big fan of this one for @delta
Shooting in-plane could almost be a genre in itself. It definitely tests your craftiness with lighting and lensing.
21 Oct 2022
#milesteller x CP 📸
13 May 2026
I know I’ve posted it before but I love this portrait of #JohnGoodman I shot for @hollywoodreporter •
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#Repost @hollywoodreporter with @get_repost
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John Goodman has finally broken his silence about the end of #Roseanne and admitted that Roseanne Barr's offensive tweet left him "brokenhearted." Goodman, while describing his character in the upcoming spinoff #TheConners, suggested that Barr's TV alter ego could be killed off: "I guess he’ll be mopey and sad because his wife’s dead." 📸: @christopherpatey
28 Aug 2018
@issarae photographed for @theankler
Huge thanks to @jenlaskiphotovideo for the call and to @baruchgoldberg for the assist.
26 Oct 2026
@patrickbrammall blurry at the London Hotel for The Times.
Side note: Patty’s great energy made this work better. He’s a rad dude.
22 Oct 2026
I had the pleasure of photographing @kyle_maclachlan for The Times ahead of the release of his memoir, Fictional Selves.
The story’s writer, Rachel Brodsky (@rebrods), had the great idea of shooting at a mirror storefront on La Cienega—a perfect setting to experiment with reflections and explore the themes suggested by the book’s title.
When I arrived, the shop was small and cluttered, and I initially struggled to see the possibilities in the space. After a few laps around the store, I spotted a stack of mirror scraps and saw an opportunity to build the setup I’d been envisioning in the days leading up to the shoot. Five minutes, a worktable, a few apple boxes, some gaff tape, and 💥 I had my multi-reflection portrait set.
Kyle was into the idea and had fun playing with the space and bringing his personality to the portraits. From there, we roamed around the store, experimenting and shooting in a few other spots.
A collaborative spirit and a willingness to experiment can make great pictures. Kyle’s lighthearted approach made the experience a blast, and I love the results.
What a day!
Thanks to @chapin73 for calling on me for this and also thanks to @benwilsonpictures for the assist. 🫡 @agencybam
20 Oct 2026
@grantholleman_ collaboration at my home studio.
28 Aug 2026
@grantholleman_ shot at my water studio aka home swimming pool. 😉
27 Aug 2026
A hangout with @grantholleman_ #simple
04 Aug 2026
I had another great time hanging with @thebriggsla at Gutterfest last weekend. A good dose of punk rock on the weekend always feels right. @joeybriggsmusic
14 Jul 2026
@leviticusfilm Director, Adrian Chiarella with lead actors, Joe Bird and Stacey Clausen for @latimes
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I shot this a couple weeks ago as my first assignment for @latimes. The paper assigns hundreds of shoots per year so they’re BUSY and prep is short/sweet. I have one assistant, @baruchgoldberg (a real beauty) one hour to load in and set up. When talent gets there I’ll have 30 minutes to shoot. ⏰
Location info: “We have room #xxxx at the four seasons in Beverly Hills”
-“Is there any way I can see a photo of the room?”
Response: *radio silence* (people are busy, all good)
Slides 4-7: I pulled references as potential hotel shoot vibes. It’s a horror movie so I thought moody light, lots of shadow. I knew my visualizations were optimistic for the Four Seasons but a guy can dream.
Slides 8-10, curveball: we got there and saw that the publicity team had staff remove almost all the furniture from the room for me to set up a studio. I was expecting environmental shots in a hotel room. I’d considered bringing a backdrop but with the limited time and crew I didn’t want the extra gear to slow me down. Welp, here we are.
Slides 1, 11-14. The client is a newspaper so there is no retouching allowed to the photography. Obstruction-removing, background-extending etc. is a no no. There were power outlets and hotel-artwork fixed to the walls all over the room so I found vignettes that felt ok, then made it interesting with the light.
The trio shot in the corner was done with 2 lights. First, a zoom reflector with a sloppy cinefoil-snoot to make a bit of a dappled shadowy key source. Then I filled the room by bouncing another head into the ceiling wrapped with a blue gel to open shadows and give the space some cinematic color.
For solos I used the headboard of the non-existent bed as a backdrop and lit with a xxs box with grid + a silver card for some fill and an extra catchlight in the eyes. Slide 15: I also shot some options using the table/window but it didn’t make the cut aside from the 2 shot of Joe and Stacey shown in slide 3.
While I shot, I instructed talent to channel the vibe of the film and I love what we came out with. 👻 ☠️🤩
22 Jun 2026
Throw back to this small lesson in preparation from this shoot with Tom Hanks: I made this portrait of Mr. Hanks in a backstage portrait studio situation, this time at the American Cinematheque Awards. I was told I’d have an empty room to set up my seamless but no further information could be confirmed.
slide 2: having our own room sounded great initially but when we arrived I quickly learned that the room was roughly 8ft wide which obviously wouldn’t fit my 9ft seamless roll, as illustrated by the seamless box jammed between the walls. I knew there would likely be opportunities to shoot small groups and I wanted to ensure I had enough depth to shoot full length too… so I used the small hand saw on my leatherman multitool and started cutting. I shortened the roll enough to fit the background wall-to-wall in the room. The space was so tight that in order to make the background hot-white, I backlit the paper by putting 2 strobe heads behind the seamless. It actually looked really clean.
Slide 3- example of the shortened end of the seamless roll.
Slide 4: *temporary edit* This photo of a key light setup was mistakenly used from a different shoot but it’s a decent reference for what I did for this shoot. (Apologies for the confusion) The main difference is the key light modifier was not a beauty dish off to the side, but likely a rotalux with no outer diffusion. The room was narrow so I used black foamcore boards to block the nasty off-white color on the surrounding walls from filling in the shadows much like this reference. This was a while ago but I’m sure I made some tweaks along the way. Mi
01 Jun 2026
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