The Cinematography of "Deli Boys" with DP Nathan Salter
Tuesday, March 25th, 2025
With the perfect blend of crime and comedy, “Deli Boys,” created by writer and producer Abdullah Saeed, has proven to be a hit with critics and audiences alike. The series follows the Dar brothers, two pampered Pakistani Americans, as they are forced into a life of crime when their father’s sudden death reveals his convenience store empire was built on a foundation of drugs, violence, and generally illegal activity in the Philadelphia underworld.
DP Nathan Salter (Episodes 2-10) took us through his process and approach to the first season of “Deli Boys,” from his creative influences, to how he stays inspired in an over-saturated media landscape.
by Ryan Rosenblum
Coming into a series after the pilot, there is obviously a lot of the show’s look already set. That said, were there any influences in particular that shaped the look of ‘Deli Boys’?
I was fortunate that director Nisha Ganatra and cinematographer Andrew Wehde established such a strong visual foundation with the pilot, giving me a great jumping-off point for the series. The core look and feel were already there, but since the pilot focused heavily on exposition, it didn’t spend much time in the key locations that would become staples of the show. That created an ideal balance for me—I had a solid reference point while still having the freedom to define the visuals as the series evolved.
Stylistically, the inspirations for the show were to sit somewhere between the Coen Brothers and Guy Ritchie. Grounded yet stylized, with a dynamic energy that keeps things visually engaging.
How would you describe your approach to the visuals of ‘Deli Boys’?
Since this is a comedy with some dark and outrageous moments, I thought it would be more interesting to lean into a dramatic visual tone versus that of a brighter, traditional comedy. It helps ground the absurdity, keeping things cinematic while still leaving room for the big comedic swings.
We mostly stuck to the wide end of our lens set, rarely going past a 65mm. That worked really well with the incredible sets that the production design team put together. Filled with so much texture and scope, they were perfect for a wide lens approach. And in keeping with the Coen Brothers influence—I’m such a sucker for a wide angle close up. Getting the camera in closer to the actors made things feel a little more claustrophobic and unpredictable, which fit the chaotic energy of the story.
Whenever we could, we also went for longer, continuous takes instead of cutting. The actors were so dialed in that we had the freedom to build out more dynamic, choreographed shots that really let the scenes breathe at times.
For ‘Deli Boys,’ you worked with Keslow Camera Chicago. Are there any specific qualities you were seeking in your cameras and lenses? Were there any unique challenges during the production that Keslow Camera was able to alleviate?
Keslow was incredibly supportive throughout this whole process. The only thing I was pretty set on from the start was the camera—I’ve been using the Alexa Mini LF in the episodic world for a while now, so once I saw that the pilot was shot on a large-format sensor, it made sense to stay the course.
Since we were leaning into a wider lens aesthetic, I wanted glass with some vintage character but without too much distortion around the edges. With a 2.39 aspect ratio, many of our scenes had four or more characters in focus at once, so preserving the frame’s edge was key. To help with this we stayed consistent with the pilot and shot spherical lenses with an anamorphic crop instead of switching to an anamorphic set.
Is there anything about the experience of making ‘Deli Boys’ that has impacted your creative process going forward? How does ‘Deli Boys’ contrast with past projects you may have worked on?
Every show is a journey, bringing new challenges and lessons that shape how I move forward. What set Deli Boys apart was that it was my first time serving as the lead cinematographer on a debut season of a scripted series. In the past, I had often stepped into shows that were already well into their run, so coming in at the ground level was an exciting shift.
From the start, there was a strong collaborative process with creator Abdullah Saeed and our incredible EPs, Jenni Konner, Nora Silver and Michelle Nader. Their trust and support gave me the confidence to fully lean into my approach and take creative risks. Genre-wise, Deli Boys was a bit of a departure from my previous work, but I was fortunate to bring along many of the same crew members I’ve worked with over the years—some of whom I’ve known since film school. That familiarity created an incredible creative shorthand, making it possible to craft the distinct visual language of the show.
What was your journey to becoming a DP? What advice would you give to aspiring cinematographers who are inspired by your work?
I stumbled into a video and editing class in high school, which eventually led me to film school at Columbia College Chicago. While there, I explored different roles on set but quickly realized that being the DP was where I felt most at home. I started out crewing—working as an AC, a grip, whatever was needed. For years I rarely turned down a job, no matter the position, that’s how I learned. But at the same time I always balanced that with shooting my own work and trying to grow as a cinematographer in my own right.
Like many, I started in the music video and short film world, then moved into reality TV as a camera operator and DP. That eventually led me to documentaries, which is where I truly found my footing and to this day docs remain some of my favorite projects to shoot. I bounced around genres for a while, shot some narrative projects and landed a few scripted TV gigs as a camera operator which helped me get into the Local 600 camera union. I stayed busy, hustled, heeded advice from a few mentors, and eventually I got the call for my first scripted television series, The Chi.
If I could give one piece of advice to aspiring cinematographers, it would be this: trust your gut. It may sound cliché, but in an industry that demands so much of you, your instincts are your strongest asset. Follow them, do what feels right, and don’t second guess yourself.
How do you stay creative as a cinematographer?
Another cliché answer, but I find that cultivating rich, meaningful experiences is what truly fuels me as a cinematographer and an artist. My inspiration comes from staying curious. Traveling, reading, and picking up new hobbies help to keep my creative instincts sharp. Recently, that’s meant reading The Water Dancer by Ta-Nehisi Coates, riding my motorcycle, playing tennis, and learning to play a native flute.
Are there any members of the ‘Deli Boys’ camera department or production team in general you’d like to acknowledge for their contributions to the project?
There are so many talented crew members whose hard work is reflected in every frame. Production designer Jessie Haddad, art director Matt Hyland, and costume designer Caily Breneman were fantastic collaborators as department heads. My colorist, Tanner Buschman, was a huge asset and I’m hoping this is just the first of many collaborations together. My gaffers, Tom Burnett and Sam DeMio, Key Grip Max Skelton, and their entire teams were invaluable and literally carried us across the finish line. And of course my camera team, whose incredible skill and tireless efforts continue to amaze me: A camera operator and 2nd unit DP Ben McBurnett, B camera and steadicam operator Blaine Baker, A cam 1st AC Mark Irion, A cam 2nd AC Renni Pollock, B cam 1st AC Andy Borham, B Cam 2nd AC Uriah Kalahiki, Loader Kris Summers, Digital Utility Jacob Cushman, and Camera PA Kosi Achife. Thank you and I can’t wait to get back to it.
Are there any members of the Keslow Camera team you’d like to acknowledge for their support of the project?
Yes, Colette Gabriel (General Manager & Business Development, Chicago), Jim Summers (Marketing Agent, Chicago), Art Criste (Marketing Agent, Los Angeles) and the rest of the staff who contributed at Keslow. Thank you for all of the hard work and support, hopefully we get to do it again very soon! [x]