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Balancing the demands of cinematography with motherhood may seem impossible, but a growing number of top female DPs are proving it can be done— each in their own way. In this revealing roundtable, Mandy Walker, Rachel Morrison, Reed Morano, Ari Wegner, Polly Morgan, and others share candid stories, practical hacks, and hard-won insights about raising kids while thriving behind the camera.
When Natasha Braier ASC ADF envisioned CAMERAMAMAS, she dreamed of gathering her favorite female DPs – many of whom are also mothers – to share how they’ve navigated the seemingly incompatible demands of the film industry and parenthood. Against all odds, the conversation came together over Zoom, connecting hundreds of cinematographers, assistants, and directors eager to understand how motherhood can coexist with a career in cinematography.
The talk – embedded below – was taglined “an unfiltered conversation about juggling parenting and film sets” and featured Mandy Walker ASC ACS, Rachel Morrison ASC, Reed Morano ASC, Ari Wegner ASC ACS, Polly Morgan ASC BSC, Fiorella Occhipinti, Allison Anderson, Rina Yang BSC and Kate Arizmendi ASC, and of course, Natasha Braier ASC ADF.
I found it refreshing to have a group of very successful women from our industry speak out about something that often falls under the table – how to balance parenting with working on high-pressure film sets. I am a father of two little kids, and find it hard enough myself to balance my day job as a cinematographer with being present for the family, but I think it’s fair to say it’s often much harder for women in our industry (or in any, for that matter).
This wasn’t a sanitized, “Instagram-friendly” highlight reel. Instead, it was a real, often raw discussion of pumping milk on set, losing gigs, travel hacks, the mental load, and how motherhood can transform both life and artistic voice.
There’s never a perfect time, but there’s your time
Many shared that waiting for the “perfect” moment to have a child is a myth, especially in a career with no clear “pause” button.
Rachel Morrison admitted she initially feared becoming a mother would end her career, recalling when she turned down Creed due to her pregnancy, thinking it was the end of the road. But it wasn’t long before Mudbound and Black Panther followed, proving that opportunities continue if you remain in the game.
“There’s never a good time,” Morrison emphasized. “Your ambition doesn’t disappear. And honestly, having a kid won’t stop you.”
Reed Morano shared that she had children early in her indie career, despite having little financial security. For her, it was a decision rooted in prioritizing life while trusting the career would grow around it. “I thought, if this is what ends it for me, so be it. But it didn’t.”, she said.
Several panelists said they only considered motherhood because they saw other women do it while working at the highest levels.
Kate Arizmendi noted she would have struggled to believe it was possible without seeing photos of Mandy Walker, Rachel Morrison, and Reed Morano pregnant on set, continuing to operate and lead teams.
“It’s about permission,” Polly Morgan shared. “Seeing Rachel pregnant made me think: maybe I can do this too.”
Visibility isn’t just about photos; it’s about breaking the taboo around motherhood in cinematography and normalizing the conversation in an industry that often demands total devotion.
Pregnancy on set is challenging, regardless of experience level. From managing nausea in extreme environments to dealing with exhaustion and judgment, many shared stories about learning to listen to their bodies while navigating perceptions.
Mandy Walker recalled operating handheld while pregnant, dealing with practical challenges while refusing to let perceptions dictate her ability to lead.
“Let people help you,” Reed Morano emphasized. “You don’t have to prove you’re superhuman. You’re already proving it by being there.”
Breastfeeding and pumping added another layer of complexity. From pumping discreetly in SUVs between locations to using wearable silent pumps while operating, the DPs emphasized the need to break taboos and normalize these realities on set.
“Breastfeeding was harder than being pregnant on set,” Walker admitted, recalling moments of milk leaking during takes and the challenge of maintaining comfort while leading crews.
Many of the DPs shared hacks to integrate babies into set life while maintaining their roles:
Some discussed the financial realities: most productions do not pay for childcare, and many DPs absorbed these costs to keep their families close, often choosing to travel together until children reach school age.
Rather than hindering their careers, many found that motherhood deepened their creative voice and leadership style.
“Parenthood made me a better leader,” one participant shared. “It taught me patience, empathy, and the importance of boundaries—skills I bring to set every day.”
Motherhood often changes what projects these DPs pursue, with some opting for work environments and collaborators who respect family needs, moving away from “sleep when you’re dead” production mentalities.
Support systems varied widely among the participants. Some relied on partners pausing their careers to manage childcare, while others used savings to take extended time off. For single mothers like Hattie, flexibility and a strong network became essential, with adaptability as a survival strategy.
Panelists emphasized the value of aligning with directors and producers who respect family needs and encouraged women to advocate for themselves without guilt.
The conversation turned toward systemic issues. Long hours, lack of childcare support, and fear of discrimination remain barriers for many women considering motherhood.
Several advocated for adopting 10-hour “French hours” to allow crews to return home earlier, emphasizing that it increases productivity and morale. Others encouraged pushing productions to normalize family presence on set by addressing liability concerns directly.
Natasha Braier launched the CAMERAMAMAS Discord to continue this conversation, creating a global support network where mothers in the camera department can share hacks, emotional struggles, and celebrate victories without judgment.
“We’ve been supporting each other for centuries, but now we have the internet. This community can help us share, support, and normalize these conversations in an industry that needs it,” Braier said.
Motherhood and a fulfilling career in cinematography are not mutually exclusive. While the journey is complex and often exhausting, these women prove it is possible with community, flexibility, and the courage to advocate for your needs.
Motherhood doesn’t erase your artistic ambition; it often amplifies it, providing new perspectives that enrich your work and leadership. It demands rethinking what “success” looks like, redefining work-life balance in an industry that rarely allows it, and being part of a movement that reshapes norms for the next generation.
Are you a cinematographer navigating the balance of parenthood and career, or considering taking that leap? What challenges or successes have you experienced? Share your story in the comments, and let’s continue building a supportive, informed community together.
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Nino Leitner, AAC is Co-CEO of CineD and MZed. He co-owns CineD (alongside Johnnie Behiri), through his company Nino Film GmbH. Nino is a cinematographer and producer, well-traveled around the world for his productions and filmmaking workshops. He specializes in shooting documentaries and commercials, and at times a narrative piece. Nino is a studied Master of Arts. He lives with his wife and two sons in Vienna, Austria.