Heather Elder Represents
Reps Journal

A Pop of Color: Dan Saelinger Creates Vibrant Work for Pharmaceutical Campaign

Dan Saelinger’s creative vision has always been deeply influenced by his childhood, a time full of vibrant visuals thanks to MTV. This lingering nostalgia informs his approach, leaning into variety and experimentation. So when a recent project required both product still-life and dynamic portraits of people, Dan’s experience and skill set him up perfectly to produce and direct the shoot. 

This campaign for Xiidra presented a number of creative challenges, from making clear eye drop vessels stand out, to highlighting dry eye symptoms through portraiture. Dan’s post-production skills played a huge role, along with his intricate knowledge of the craft, enabling the team to make informed decisions on set and avoid complications later. His ability to anticipate how lighting, colors, and compositions would translate in post allowed for flexibility and efficiency, proving invaluable to the client.

This campaign demonstrates the power of craftsmanship, versatility, and collaboration. By combining technical expertise with a clear artistic vision, he turned what could have been a routine pharmaceutical shoot into something visually engaging.

 

What made this project unique for you?

I think what stood out was the combination of people and still-life photography. It’s something I’ve always been comfortable with, but not every photographer is. Clients often appreciate when one person can handle both, as it keeps the vision consistent across the campaign. For this shoot, I directed everything—from the casting and styling to the props and set design—so it all felt cohesive. It’s a great example of where my versatility really shines.

 

How did your background in still-life photography help you on this project?

I started as a still-life photographer, which taught me to focus on details and lighting. That foundation has been invaluable, even as I’ve branched out into portraiture. For this campaign, I had to make a translucent vial look visually appealing while also capturing the personality and energy of the talent. It’s about understanding the craft at every level—from traditional lighting techniques to post-production workflows—to bring everything together.

 

You mentioned your knowledge of post-production workflow. Why was that important on this project?

The creative director wanted flexibility with color and tonality, so I advised how best to shoot the product and people to give them that flexibility. The people are all shot on gray, so the client can shift tonality around. For the sets, we selected specific colors, which gave the images a polished look straight out of the camera. I am confident in my ability to direct a shoot to set up the client for a successful post-production. I’m not someone who just hands off raw files and says, “Good luck.” I set the team up for success by ensuring everything was done thoughtfully from the start.

 

What’s your approach to collaborating with other creatives on set?

For this project, I worked closely with Prop Stylist Marie-Yan Morvan and Wardrobe Stylist Tennille Yamashita. I had admired Marie-Yan’s work for years, and while Tennille was a new collaborator, she brought an incredible energy. The three of us exchanged ideas constantly—from wardrobe boards to prop selections—and it made a huge difference. I’m not someone who just delegates; I’m hands-on because I believe the best results come from true teamwork.

How do you maintain consistency when switching between still-life and portraiture?

It’s about bringing the same energy and attention to detail to both. When shooting still-life, it’s about perfecting a single shot. With portraits, you’re capturing movement and candid moments, so you’re shooting hundreds of frames. Balancing those workflows takes experience, but I love the variety—it keeps things interesting and ensures the final images feel like part of the same story.