Damon Webster on the Art of Adapting

Damon Webster is an award-winning executive producer, photographer and founder of Photoinduced, a photography media platform he launched in 2005. With more than two decades of experience across agency and production, including work in over 30 countries and multiple Cannes Lions wins, he brings a 360-degree understanding of how creative work comes together.

A former head of integrated production, Damon has worked across automotive, entertainment, sports, food and consumer brands, while his photography career has seen him capture artists including Dizzy Gillespie, Janelle Monáe and Bruce Springsteen. Through Photoinduced, he continues to explore photography, technology and the creative community, bringing together his passion for production, storytelling and emerging ideas.

Damon sat down with LBB to discuss his career across production and photography, the evolution of the creative industry, and what it means to stay curious and adapt in a rapidly changing landscape.

LBB> What first drew you to your craft?

Damon> I've had a camera in my hands since I was eight years old. Growing up in the TV generation, I was always fascinated by commercials. I loved these tiny, self-contained films and the stories they could tell in such a short space of time. When I was 15, someone lent me a Super 8 camera, and I made a fake Lipton Tea commercial. Around the same time, my stepbrother was a creative director at Y&R in New York, and I'd visit him at the agency. Seeing all these creative people at work and watching the ideas they were bringing to life inspired me, and only deepened my love of advertising.

Over time, I became almost obsessed with commercials, not just as creative work, but as a form of social commentary. If you look at the history of advertising, it's really a reflection of how we speak to ourselves as a society. You can trace changing trends, values and aspirations through commercials, whether they're selling an unattainable lifestyle or speaking directly to people in a more authentic way. That's one of the things I love about where advertising is today -- it feels much more like a direct conversation with the audience.

My first job in the industry was as an assistant photographer, working for someone who had previously been first assistant to Steve Horn. It was the perfect introduction to the world of advertising production.

LBB> What sorts of projects get you most excited to work on and why?

Damon> The projects that excite me most are the ones that feel genuinely fresh -- ideas I haven't seen before. Those are the jobs that challenge me, push me to learn something new, and make the creative process incredibly rewarding.

Just as important is the team behind the idea. I love working with people who are genuinely passionate about what they're creating, not just ticking a box. That energy is infectious, and it's exciting to collaborate with people who really believe in the work.

I enjoy solving creative challenges and finding new ways to bring ambitious ideas to life. My role is to support that vision, elevate it, and help translate it onto the screen in the strongest possible way.

LBB> What’s something about your craft that people outside your role tend to misunderstand?

Damon> People often think a producer is just a project manager, but the role is far more nuanced than that. It's about assembling the right creative team, understanding how to bring a story to life, and making hundreds of judgement calls that only come with experience.

I've always said that every production adds another page to your playbook. The more situations you've faced, the more instinctive your solutions become. Just as important are the life experiences you bring to a project. I always encourage producers to stay curious, immerse themselves in the culture around them, and be genuinely passionate about the world they're creating for, because that's what brings an extra layer of understanding and originality to the work.

Above all, a producer has to be the calm in the eye of the storm. No matter how chaotic a production gets, your job is to keep everyone moving in the right direction and help bring the creative vision to life.

LBB> Tell us about your favourite project or campaign that you’ve worked on. What was the biggest or most interesting challenge for you and what did you personally bring to it?

Damon> Without question, it was a Toyota spot directed by Ringan Ledwidge with Rattling Stick, filmed in the old town of Tarragona outside Barcelona. It was an ambitious car chase where the villains would smash into every vehicle in their path until they reached the hero Toyota, which they carefully avoided. Watching Ringan map out those sequences like a military general was incredible.

The biggest challenge was coordinating such a complex production while keeping the director, agency and client creatively aligned. I'm a bit of a plate spinner -- my job is to keep all the moving parts working together so everyone feels supported and the creative vision stays intact. One of the best decisions we made was to stay in the town with the crew rather than isolating ourselves in a luxury hotel. It kept us immersed in the production and created a real sense of collaboration.

The real highlight came at the end: the client had no notes. We trusted Ringan and editor, Hank Corwin, to shape the film, and when we presented the final cut, the only discussion was whether to open on a wide shot or a medium shot. That's incredibly rare, and for me it proved that when you build the right team and trust the creative process, great work follows.

I still keep that Toyota spot on my reel because great production doesn't have an expiry date. I need to know the right talent, understand the technology, and communicate what needs to be achieved. The tools will keep changing, but great ideas and great collaborators will always matter most.

LBB> What recent work of yours might we have seen?

Damon> Most recently, a Webby Award-winning campaign for Xfinity, 'Latinos Monumentales', celebrating influential Hispanic leaders. We created the CG monument tributes to these cultural icons and placed them in everyday settings, making them feel as though they'd always been part of the landscape.

One of my favourite executions featured a renowned Hispanic composer and conductor, whose monument appeared to tower over the Golden Gate Bridge. We filmed it from a tourist boat in San Francisco Bay to make the illusion completely believable. Friends even asked why people who crossed the bridge every day hadn't seen it. I took that as the ultimate compliment -- it meant we'd made it feel real.

LBB> How would you describe your creative process?

Damon> My antennae are always up. I'm constantly absorbing what's happening in culture -- art, film, music, design, architecture, even the energy of a city. Inspiration can come from anywhere, so I make a point of getting out into the world and staying curious.

Living in New York gives me incredible access to that. I'll spend an evening at a new jazz club, catch filmmaker Q&As, or simply wander around MoMA, which I always say is my Disneyland. Being surrounded by great art and creative thinking keeps my perspective fresh. That curiosity carries into every project. Before anything else, I want to fully understand the idea -- the brief, the creative ambition, and what the team is trying to achieve. From there, it's about bringing together the right production partners to realise that vision.

I'm also constantly looking at the best work being made. LBB is one of the resources I come back to because it doesn't just showcase great creativity, it tells you who made it. Understanding the people behind the work is just as valuable as the work itself. I love being inspired by all the amazing art around me.

LBB> How is your craft changing and how are you navigating those changes?

Damon> The biggest change is that creatives no longer have to guess how audiences respond -- we can learn in real time. I embrace that by constantly experimenting with new platforms, formats and tools to better understand how people consume content.

Creating my own content has become part of that process. A video I made about the Epstein files naturally attracted strong engagement because of the subject matter, while another about a tech product reached thousands of viewers and even led to brands approaching me about collaborations. Every piece teaches me something different about storytelling, audience behaviour and what captures attention.

Whether I'm working as an executive producer, covering CES (Consumer Electronics Show), or creating content for my own channels, it's all part of the same approach: combining technology with storytelling. The instant feedback loop means I can test ideas, refine them quickly, and bring those learnings back into every production. The tools and platforms may keep evolving, but understanding people and telling compelling stories remains at the heart of the craft.

LBB> Looking at how you got to where you are today, what’s a part of your personal story that doesn’t fit on a CV, but is essential to understanding who you are?

Damon> I am a culturally curious person. With a penchant for films, museums and art in general, these passions guide me. As a photographer, it is my tool to reflect the world around us and it also informs my insights into projects. Bits of knowledge can come in handy in ways we never know.

I’ve stayed curious throughout my entire life. I'm the guy that runs into the crowds -- I want to see what's going on there. That, and crafting something that's going to really get a clear message out, is what’s shaped me. When I was a kid, my mum used to take me to Broadway shows and various culture houses. It's such a reflection of the world we live in, and that's why living in New York City is pretty darn exciting.

LBB> How did the community or environment you grew up in shape your approach to your career?

Damon> I was lucky to grow up surrounded by culture, regularly visiting museums, theatres, concerts and spending time in the city, and that curiosity has never left me. At a school reunion, someone I'd known since fourth grade asked, "Are you still listening to weird music and taking pictures?" The answer was yes -- and it still is. My taste runs from Jimi Hendrix and Dizzy Gillespie to Wet Leg and Yungblud.

I still spend as much time as I can at the cinema because there's nothing like experiencing a film with a room full of strangers. In film school, we were taught to watch every film twice: the first time, let it wash over you; the second time, study it. I still approach storytelling that way, drawing on a lifetime of films and cultural experiences whenever I look at a new concept.

I've always embraced new ways of creating and sharing work. I started my own platform, Photoinduced, and a YouTube channel long before most production companies saw the value in digital content. When I first covered CES, I was given a blogger pass instead of a press pass, but within a few years, brands realised creators could speak directly to audiences without the traditional filters. That shift reinforced how powerful authentic communication can be.

It's a dynamic that's only growing. As one creator put it: "In your 20s it's Coachella; in your 30s it's Cannes Lions."

LBB> What’s your secret talent?

Damon> Photography. I have photographed rock greats to Manson family members in maximum security prison. Plus, I hold a press pass that grants me access to events all over the city. It's something I've been doing since I was a kid, and I still do it all the time. I probably press the shutter every single day, and I hope that everything that I've done helped shape what I do.

Bringing other knowledge and interests into a project keeps it fresher. I don't know if that's a secret talent, but it's just a part of who I am.

LBB> Who and what are your cultural and creative influences?

Damon> Filmmakers and museums like MoMA have always been huge influences on me. René Magritte is one of my favourite artists of all time. Martin Scorsese is probably my favourite filmmaker, although I still study Hitchcock. I think Spielberg has lost his way a little, which is unfortunate.

I'm always interested to see what filmmakers do next so I'm looking forward to Alejandro G. Iñárritu's ‘Digger’, and I still enjoy asking the important questions, like whether Tom Cruise realises people love him just as much in a fat suit as they do hanging off an aeroplane.

LBB> What is a (non work-related!) topic that you could give a 30 minute presentation on with zero preparation? Why does this topic appeal so much to you?

Damon> Photography, and how it reflects the world around us. It depends on what people have interest in and where they want to talk about it -- whether Vivian Maier is really someone important to follow, or is it more important that you follow Cartier-Bresson?

LBB> What’s the key to finding your place with a new team or company?

Damon> It's all about chemistry. You can have the most talented people in the room, but if the chemistry isn't right, you'll spend more time working against each other than with each other.

As a freelancer, I see myself as a guest in someone else's home. My job is to adapt to the team's existing way of working, understand their process, and contribute the experience I've built over the years. That doesn't mean being complacent or afraid to challenge ideas when it matters, but hopefully I'm being brought in because of my perspective and judgement. The key is knowing when to adapt, when to contribute, and how to help the team achieve its best work together.

LBB> What do the best companies do to integrate freelancers well, and what do they often get wrong?

Damon> The best companies make it easy for freelancers to understand how they work. Clear onboarding, straightforward processes, and a simple guide to the company's systems and ways of working can make a huge difference. I've been asked several times to create a freelancer handbook because it's something so many businesses are missing, but honestly it has never come to pass.

Too often, freelancers are left to figure out the unwritten rules as they go. It's rarely anything major, but those small process gaps can slow everyone down. The easier a company makes that, the faster you can do great work together.

LBB> What sorts of teams, cultures and setups do you most enjoy working with and why?

Damon> I enjoy working with passionate, welcoming teams that can utilise my skillset to their best advantage. With a myriad of experiences, my goal is to always be the person who can get it done with no drama -- just skills and relationships, and trying to find a touch point.

When I receive a brief, I don't rush into recommendations. I'll often spend crucial time thinking about the right creative partner, presenting a range of directors whose styles best fit the idea. Whether it's someone like David Shane for comedy or a completely different voice, it's about understanding where the creatives are ‘living’, and finding the perfect match for the work.

LBB> How do you find community as a freelancer?

Damon> I've been on both sides of the table -- as both the employer and the freelancer -- so I know what each side is looking for. I've been the hunter and the hunted, and it kind of helps, I think. At the end of the day, we're all just trying to make great work.

The freelance community in New York is incredibly welcoming. People regularly meet up, share opportunities, and recommend each other for roles. I try to do the same because those relationships matter. As valuable as online networks are, nothing beats meeting people in person. That's why events like Cannes Lions are so important. I always tell people, "Don't hang with your crew. Meet new people." Those conversations and relationships are what start careers, and keep them going.

Platforms like LBB play a big part, too. Being able to see the work (and crucially, the people behind it) without a firewall makes it much easier to discover talent and build genuine connections.

​Check out more of Damon's work here.

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