My original training was in theatre in the late 80s; I went on to specialise in lighting, sound, set building and stage-management. An increasing parallel interest in theatrical stills photography led to an intense period of photographic work, shooting predominantly in 35mm black and white film.
After a number of years working in and teaching technical theatre, I moved into film and television, working in departments including production, art, sound, and assistant direction before moving through the then traditional route of camera trainee, film loader, focus puller, and steadicam operator. All my original training was in film formats, both Super 16 and 35mm. As camera crew I worked on hundreds of music videos, eventually moving to crewing on commercials, then TV dramas and feature films. I briefly ran a small camera hire company in Three Mills Studios, then, in 2001 became a fully fledged cinematographer shooting music videos, commercials, corporates, short films, and films for artists.
In the early noughties I pioneered the use of film lenses on digital HD tape formats, and spent several years working predominantly in corporate film-making. Clients included Hewlett Packard, Nokia, KPMG and O2, frequently shooting abroad, including Dublin, Madrid, Sydney, Sao Paulo, Toronto, and Stockholm.
I was an early adopter of the Red 4k camera, and taught one of the first UK Red courses through Fours Corners Film. More recently I’ve worked predominantly on DSLR. Since 2010 I have done a substantial amount of film education, teaching film-related subjects usually concerning camera and lighting for The London Film School, The Met Film School in Ealing Studios, the London Film and Television Academy, and for Four Corners Film Workshops.
I’ve also started to build up a stills portfolio again, and recent work includes a shoot for the Guardian at Green Man festival, and and have started working on black and white 35mm photochemical film again, most notably
Recent film work includes a long-form art film shot over a month in the summer of 2014 in Mauritius. This was shot on the Black Magic digital super 16 camera, coming full circle in utilising super 16 lenses and accessories I hadn’t used for 15 years.
In March 2015 I will continue to rediscover analogue techniques with another long-form project for artist Mineo Kato, which will be shot on Super 8 film.