“A photograph is not an objective interpretation of what we see,

but rather a subjective interpretation of what we feel.”  

 

 

Somewhere between Cub Scouts and ET, Kenneth discovered a lifelong fascination with imagery, light, and Pixelvision.  Inspired by Kodachrome and an industrial wasteland, Kenneth grew up to secure a degree in cinematography from the North Carolina School of the Arts, where he starved himself long enough to jump aboard David Gordon Green’s breakout film, GEORGE WASHINGTON and contribute second unit photography, later nominated for an Independent Spirit Award for cinematography. 

 

"I approach every project with a few key broadstrokes, but really try to uncover the thousands of 'telling details' that organically construct an image, a scene—like an architect might develop a dream.  For me, filmmaking is a perfect, harmonious blend between science and art...the technical and aesthetic.”

 

But the creative landscape and fast pace of commercial production was what really caught his eye.  Two adventures to MT. EVEREST branding for HANES/CHAMPION is a perfect example of the limitless possibilities offered by the industry.  

 

“In the spot world, you can really spend the time to craft every frame, every cut, and compose each moment with such precision that it becomes an intense and collaborative expression.  There’s a vision and energy which can be focused and fused into branding.  Everyone wants to try something new, and advertising's creative latitude affords that. ”

 

And that’s what is poured into spots and campaigns for IBM, HOME DEPOT, LOWES, LG, JOHN DEERE, WELLS FARGO, WACHOVIA, JDRC, BLUE CROSS, WAL-MART and more.   

 

Kenneth's work spans multiple genres.  His passion for indie dramas has furthered his relationship with David Gordon Green, lending second-unit photography to ALL THE REAL GIRLS and UNDERTOW, and the opportunity to work with all-time fav TERRENCE MALICK.  Well versed in comedy and action flicks, between NONAMES and the vfx-intensive thriller EYEBORGS, Wilson has come to make every shot count.  Lingering, explosive, poetic, realistic…and strange.

 

Wilson's television credits include the reality series ROUSCH RACING: DRIVER X for DISCOVERY, THE DRIVE for CMT, MADHOUSE for THE HISTORY CHANNEL, the PBS documentary BATTLE OF SAILOR’S CREEK, and a really great chance to meet Tammy Faye Baker on her last series, DEATH DEFYING (WE network).  Oh yes, and lots of NASCAR, MTV, VH1, and BET.

 

Championing intimate collaborations and capturing intriguing imagery keep Kenneth preoccupied, possessed, and employed.  And one day he might even retire into directing if his eyesight goes south.

 

 

 

AWARDED: Kodak Outstanding Cinematography, Slamdunk Jury Award (Fudgie and Jane), Indy Spirit Nomination (George Washington), Reelwoods Best Feature Film (Chicks 101), New England Film Fest-Best Feature (You Are Alone), Wired Magazine's Best Something (IBM: Launch), Sundance Special Jury Award (All the Real Girls), Discovery Award-Toronto Film Fest, NYFCC Critics Award (George Washington), Slamdance Jury Award  (The Guatemalan Handshake), Gold Space Needle-Seattle Int'l Film Fest (DoubleTime), Excellence in Filmmaking--USA National Board of Review (Undertow).