Speaking about how he first got into toy photography, Chuck said, “Like a lot of people, I was looking for a new creative outlet during the pandemic — something that let me flex my photography and Photoshop skills while the city was basically shut down. One weekend, while visiting my nephew, who’s a huge Marvel and Star Wars fan, I watched him play with a Hulk action figure and had this random thought: what if I photographed toys in a realistic, cinematic way?”
“I quickly realized my ‘original idea’ was actually a thriving niche on Instagram, and instead of being discouraged, I was completely inspired. Seeing so many talented artists doing incredible work pushed me to start my own account and share what I was creating. The positive feedback kept me going and gave me an excuse to stay creative every week, and before long, I was hooked.”
“What I fell in love with wasn’t just the photography, but the entire process: brainstorming story ideas, building sets, figuring out lighting, posing figures, and solving tiny, ridiculous problems along the way. Since then, I’ve been lucky enough to make meaningful connections and gain exposure that’s opened doors to take this beyond a hobby.”
When asked to sum up Killcutter Toy Photography in one sentence, he said: “Killcutter creates cinematic, story-driven photography where action figures meet fine art, using handcrafted sets, controlled lighting, and practical effects to turn small-scale scenes into epic, film-inspired worlds.”
On the appeal of toy photography as a storytelling medium, Chuck explained, “Toy photography lets me tell big, cinematic stories on a small scale. I love the challenge of taking something that’s completely inanimate and, through lighting, composition, and atmosphere, giving it emotion, weight, and narrative. I love that it forces creative problem-solving, building sets and props, dialing in framing and composition, and figuring out how to make everything feel grounded and believable. There’s also a strong nostalgia factor, using the characters I grew up with as my ‘models’ while telling entirely new stories with them. In a lot of ways, it feels like directing a movie, just one carefully crafted frame at a time.”
He also walked us through how those miniature worlds come together: “I approach each miniature world the same way I’d approach a film scene, story first. I usually start with a loose narrative or mood, then build or adapt a set that supports it, keeping scale and realism in mind. Sets are hand-crafted from foam, paint, and found materials to create environments that feel worn, lived-in, and believable. From there, lighting does most of the heavy lifting; I treat it like a full-size movie set, using shadows, contrast, and practical effects to sell atmosphere. Posing the figures is all about subtlety; small adjustments can completely change the emotion of a scene. Once everything’s in place, images are captured primarily in-camera, with subtle digital refinements that preserve realism rather than overpower it.”
As for the influences behind the look and tone of his work, Chuck said, “My visual style is heavily influenced by film & TV, especially sci-fi, fantasy, horror, and superhero genres that prioritize atmosphere, mood, and emotion. I’m drawn to strong lighting, deep shadows, and compositions that feel like a single frame inspired by my favorite filmmakers. Nostalgia plays a big role too, since a lot of my subject matter comes from the movies, cartoons, and toys I grew up with, but I try to reinterpret those worlds with a darker, more cinematic edge. Beyond film, I’m inspired by all creatives – other toy photographers, painters, illustrators, concept artists, 3D modelers, miniature builders, and traditional photographers who focus on storytelling over spectacle. At the end of the day, I’m always chasing images that feel tactile, grounded, and emotionally charged, even at a small scale.”
