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Director and photographer Emily Maye was born and raised in Southern California, her early life spent immersed in a ballet school owned by her mother.
Surrounded continuously by music and movement, Emily’s passion for narrative evolved into an obsession with film. After attending the University of Southern California School of Cinema-Television and continuing her screenwriting studies at Columbia University, Maye pursued her enthusiasm for storytelling in the Visual Arts through both Photography and Filmmaking.
As a Photographer, Maye's inquisitive eye looks to highlight an athlete’s humanity and the beauty in their discipline and strife that we so often overlook when focused on the finish line shot. Her clients include Nike, Adidas, Lululemon, and Rapha. Her editorial work can be seen in ESPN Magazine and Victory Journal.
Often going behind-the-scenes with athletes in their training and daily life, Maye is able to capture nuance and intimacy that isn’t often experienced in athletic photography. She traveled extensively with pro cycling team, Trek Factory Racing, through their entire world tour calendar including the Tour de France, and with Usain Bolt as he trained for his final Olympics in Jamaica. Maye’s longest collaboration is with boutique running brand, Tracksmith, having developed their visual style from the inception of the brand.
The turn to directing commercials was a natural transition that further sharpened Maye’s commitment to telling sports stories with a cinematic sensibility. She’s worked with top athletes from across disciplines including Serena Williams, Jayson Tatum, Trae Young, and Tua Tagovailoa.
Maye brings her expertise as a dancer and choreographer to the language of the camera. She doesn’t shy away from a chance to let an idea breathe on screen or to tell a powerful story in a well composed frame. She brings with her an uncommon ability to capture the romantic narratives not just imperative to sport, but to all human endeavor.
Emily Maye currently lives between New York and Santa Barbara.
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