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KINGMAKERS seeks voices that elevate the ritual.
Luxury lives or dies by the image. Before a cigar is cut or lit it has already told its story through shape, texture, and atmosphere.
Francesco “Cigar Crumbs” Genua is an italian photographer who translates that silent story into a frame that travels the world.
His visuals have launched limited editions, refreshed heritage brands, and set the tone for boutiques pushing the craft forward.
Kingmakers asks him to reflect because understanding his eye makes every aficionado sharper.
What started as a quick interview with an artist turned into an in depth analysis through an artists process and their tools for success.
Readers will see how lighting, composition, and restraint turn a simple vitola into a statement.
Creators will pick up real world tactics for shooting their own products.
Francesco shows that a cigar is not only smoked; it is staged, captured, and remembered.
KM: Thank you CC for sitting with us.
CC: My pleasure, this is a first for me, so let's do it right!
Francesco shows that a cigar is not only smoked; it is staged, captured, and remembered.
KM: For readers meeting you for the first time, share your journey into photography, the moment cigars claimed your attention, and what still pulls you toward the next frame.
CC: My journey started from Italy, where I was born and raised, in a small town near Venice. Creativity has always been part of my life in different forms. At a first stage was more about drawing or designing and with time it became mostly about photography.
How did I start? Well, Tobacco came first. From when I learned about the culture behind the cigars we smoke, the art behind blending and rolling, the details that make this craftsmanship another form of art. I did approach photography before that time, but it was something more cold, distant and just a vehicle to get something done when a project required it.
Today I can say it’s my passion, something I want to discover more, something I want to improve for. Combining these two passions came out naturally and now I am grateful to be part of this industry and be surrounded by the amazing people in it. Helping brands to create content that stands out, that communicate a message and that can represent their style is one of the best experiences I could wish for.
KM: What was the first camera you called your own and how did it teach you to see rather than simply look?
CC: My first camera was a Canon Rebel T3, it was a gift from a former colleague of mine from when I was living in Shanghai. I have used other cameras before, but I have never really invested time in learning the craft like I did when I received the Rebel T3.
I believe through the lens, lights and shadows took a different form and the moments I was capturing became something more than just a series of snaps to be then forgotten on my phone.
KM: Before cigars became your main subject you shot many things. Which early project sharpened your eye the most?
CC: I know it may sound strange, but tobacco is what led me to be the photographer I am today. I was taking photos before, but I feel it was more of a hobby that helped me capture casual, random moments, bits of life, without a clear purpose or objective of self-improvement. Later it became a true passion, a lifestyle so to speak, when I started to capture the art of tobacco in its many forms. Only then I wanted to learn more, learn new skills and techniques.
“New York may be the city that never sleeps, but Shanghai doesn't even sit down.."
KM: You mentioned your time in Shanghai. How is the cigar scene there? for those uninitiaded with asian cigar culture, what was your favorite part of that scene? What would you want to see here in the west that they do in the east?
CC: Patricia Marx once said “New York may be the city that never sleeps, but Shanghai doesn't even sit down, and not just because there is no room”. The city is very dynamic, modern but at the same time traditional. It was nice to see how many different cultures can get together in one place.
The cigar scene was quite interesting, as the access to New world cigars was very limited (for some parts it still is). To bring cigar aficionados together I founded a “Cigar Crumbs Shanghai” Group in 2019. At the beginning we were mostly a handful of friends but with some time we became one of the largest groups. It was fun to organise events, tastings or just simple afternoon gatherings where we could dive in into our passion.
The best one we organised was an event limited to a few members, in a mountain village with a castle, in a city not too far from Shanghai, where we spent a few days together, smoking cigars, riding horses and just relaxing by the pool. The group still exists to this day even though I am no longer there and I am happy to see that it doesn’t need me to function as it should, having people sharing experiences, getting together or sharing cigars with each other. My favourite part would be that, although I believe that sharing cigars and opinions or supporting other cigar aficionados is a common characteristic in the cigar world and can be found in every cigar club around the globe.
That’s what makes this culture even more deep. Shanghai was very friendly in the past and smoking indoors was allowed. After the smoking ban in 2017, only a few places would let you light a cigar indoors, so outdoor places became the main choice for many.
CC: There were not many Cigar Lounges as you can find in the USA for example, so the gatherings took place mostly at bars and restaurants. To be honest there ain’t a thing that comes to my mind that I would bring to the west that they do in the east, apart from having the possibility to smoke in the outdoor area of restaurants almost everywhere, something that in Miami is not common at all.After all though, In the USA especially (depending on the state where you find yourself) it is pretty common to find a cigar shop or a lounge where you can spend some time and enjoy the cigars you like, or even find new releases or old ones for a fair price. In China you have to rely mostly on travels outside the country to restock your humidor and the quantity of cigars you are allowed to bring in recently are getting lower and low
"creativity is a like fuel tank and it can run low for a period of time, until that spark ignites.."
KM: Cigars carry texture, ritual, and rhythm. What artistic challenges do they pose that other subjects do not?
CC: I believe creativity is a huge aspect for the artistic side of cigar photography. Whether you do it for your own passion or as a job, the risk of becoming redundant, of using the same style or sets multiple times, is always there and you know, creativity is a like fuel tank and it can run low for a period of time, until that spark ignites, an idea for a new set comes around and the roller coaster starts again. A major challenge would also be to try to keep the cigar as real as it is, showing the beautiful parts of it like the anillas, the vitola or the wrapper leaf.
KM: Name three shoots that pushed your artistry to a new edge and explain why each mattered.
CC: This is a great question.
Well, in a random order: I believe one is a monochromatic self-portrait I took some time ago. It may seem nothing out of this world but to me was a mission I had to accomplish. I always felt I was ( and still think I am) not good at portraits, so whenever I had the chance, I would set the lights and try my best to get the result I wanted. Another one would be the one I took for Family by Loyalty cigars. I wanted it somehow to resemble an alchemic process. I wanted to include some fire (matches), some gold (the LFL TAG) and an old mask I bought while walking in Venice. The cigar is floating in the middle, the lit matches are in my hand below and the LFL Tag is hanging from my other hand while I look at the “scene” wearing the mask.
Finally, one of my favorites was with Kingmakers. There is nothing more challenging that the words “you have total freedom”. My mind went through so many ideas, and I had quite a high number of photos to take, so keeping each photo unique and original wasn’t too easy. My favorite from the whole project happens to be another self-portrait, with me holding the box of No.3 Inkwell in my hands, but only the box, my hands and the profile of the gold sunglasses can be seen.
"I believe the content should represent the brand and its soul..."
KM: You have worked with classic Dominican makers and avant garde boutiques. How do you adapt your visual language for a brand while keeping your signature intact?
CC: Whenever I start a new project, I like to ask questions, maybe too many, about the type of results the brands want for their photos. I believe the content should represent the brand and its soul, the philosophy or the message the team wants to communicate with these photos. My style is always there, it could be on the editing, on the type of photo or in the colors I like to use. Many come to ask me for photos because they have seen projects I have done before and they want something with that style I believe, while it represents their brand in a unique way.
KM: Tell us about a shot that seemed impossible on set yet became a portfolio favourite.
CC: I enjoy taking photos with coffee spilling, whether it’s coffee beans or a cup with coffee splashing out. I remember one evening I wanted to try to take a photo of my hand, almost squeezing a cigar and having coffee dripping down from it. It was the very first time I have attempted such a photo, so I had no clue on how to manage the set, the overlayed layers to be edited and the lights angles.
After quite some photos, taking one of the cigars in hand, trying then to hold the same position and pour coffee behind it, the result was interesting and with a bit of work it came out nicely. I wouldn’t say it’s the best I could have done, but I was happy I made it and had fun while doing it. From there I started to improve this style and now I believe you could see coffee in cups or coffee beans spill all over my Instagram.
Going Deeper..
KM: Lets get deep. Walk us through your setup for capturing a single lit cigar, covering lighting, modifiers, timing, and the small steps that protect the wrapper.
CC: When I must capture a cigar in a set, I try to envision the final photo I want to get, I start to select backgrounds and props. Texture is a key factor, so I like to use wood, stone, glasses, coffee beans, ropes etc. to fill the set. I balance the composition to keep the subject main character, then I add props that are relevant to the scene, and I set my lights around the set.
I usually use two off-camera speedlights from Godox, each one in a soft box. I adjust them in different angles until I get the shadows and lights game I like for that specific set, one as a main light and the other one as a fill light. Some cigars have very distinct Anillas, colors and wrappers texture, so when I take a photo, I want to make sure that these details won’t be lost. Close up photos are the best to show the art of the designers. So, I would recommend to always take at least one photo of that too. Of course, not all the sets require the same settings, and I don’t always use the same lens for every photo. If I had to pick a lens the 50 mm would be my preferred choice. At the very beginning I thought that the camera was the most important piece of gear, in addition to an artistic eye. Of course, it is and it does make a difference, like the lens you choose, but lights are one of the most essential aspects of photography in my opinion.
KM: Many photographers lean on heavy post production. How do you balance discipline in camera with refinement afterward?
CC: The “well… I can fix it in post” can bring some issues for sure. I am very picky with my photos, and I would rather take extra shots rather than having to deal with postproduction too much. For the editing part, some photos call for a certain style, whether it could be a cinematic look or a certain color profile.
That is up to the photographer to express their art through editing styles. The situation I find myself editing a photo the most is when I do those “flying cigar” photos, but even there the editing is kept at the minimum possible. It’s crazy where AI is going nowadays and how much people rely on it, but I like to keep it more traditional, no AI, no heavy editing.
If you want to capture a good smoke curl, then a having a flashlight set at 10 or 11 hours behind the subject helps you to highlight the smoke. Take a puff of the cigar, sit in on the holder right away and snap a few photos. The smoke output will slow down after seconds, so you can go from a nice amount of smoke coming out of the cigar to a very gentle and elegant line. Which one you prefer is your choice and the way you position the light can give you some different effects.
"The cigar community is amazing, and it’s filled with people down to help one another"
KM: Offer one piece of advice for newcomers who want to shoot cigars today.
CC: I believe the most beautiful part of photography is the process of experimenting, the fun that comes with it no matter the hard time it can give you. Don’t be afraid to share your photos and ask for advice. If you find pleasure in taking photos of the cigars you enjoy, if that makes you happy and you want to share your journey, then you should do it. If you are not sure about the results, then show your photos to someone that inspired you and ask for advice. The cigar community is amazing, and it’s filled with people down to help one another. I receive quite many times messages asking me what I use, what’s the background or what’s my vision. It is a pleasure to exchange ideas on the how to and see a person getting better results.
KM: Share a lesson veteran shooters should revisit no matter how long they have been in the game.
CC: I think this one would apply to life in general more than just photography, but don’t stop having fun with it and keep challenging yourself. There is a time when we think we can nail every photo, and we start to live in that comfort zone of doing what we know how to do best. Bring in a new challenge, pick a subject you never captured before or take inspiration from one of those photographers you admire and challenge yourself to do something similar but with your own touch.
KM: Gear is only half the equation. What mindset must a photographer cultivate to translate cigar culture honestly?
CC: Cigars lit from the wrong side, cut way too down the head, some even lit with the cedar on…how many times have we seen monstrous mistakes like this in some photos of well recognized brands? I think a cigar photographer should really be interested in the cigar world first.
The photo isn’t just a pretty image you tap twice and scroll down. There is history, art, culture, heritage, pairings, complex flavor notes that are all part of a cigar and only if you really understand this culture, you will be able to give it justice.
KM: You’re making a coffee table book with your photography. When can we expect it on shelves?
CC: I wish I could give you a date, but it is still in the making. Every time I take some new photos there is always one or two, I want to add to the book. I must be more selective and finally I can bring something to the table. Being a designer, I am focusing on some branded merchandising too and hopefully those will be available sooner than the book.
"If the community stands together and supports each other, I think there will be a chance to gain the space it deserves..."
KM: Where do you see cigar imagery evolving over the next five years and how are you preparing to stay ahead of that curve?
CC: I believe with social media being a huge part of our lives we are seeing more brands relying on photographers in the cigar community like me. The style of photos is also experiencing some changes, as we see many companies focusing on the cigar experience, content to which people can relate to, rather than the beautiful ad like images used in magazines or websites. Videos also became one of the main tools to be used for cigar content and it would be useful to learn that too. I am glad to see more and more people sharing their cigar experiences through photos on social medias. It helps to broaden the community and create relationships with other aficionados and photographers. Tobacco being a sensitive subject, there is always the risk around the corner unfortunately, especially for social media accounts. If the community stands together and support each other I think there will be a chance to gain the space it deserves, as a culture and as an art form in terms of photography.
KM: Francesco, let readers know where they can follow your latest work and how they can collaborate with you on future cigar stories. The floor is yours. Thank you for sharing.
CC: I share all my photography on Instagram, for my cigar photography journey you can find me as “cigarcrumbs”. I also have an interest in the EDC and I snap some photos of that too from time to time. To not mix journeys I created a profile called “@thecarrycode”.
If you are interested to see more nature, lifestyle photos then “@don_reg_” is my personal profile. If there is any interest in collaborating, please send me a message in the “@cigarcrumbs” account so we can see together what we can do. It is always a pleasure to discover new brands and people and work together on some photography content.