I shoot stories that stay with you after the screen goes dark.

From camera trainee to director of photography

I started nine years ago loading magazines and coiling cables on other people's sets. Those years taught me what no film school could: how a set breathes, where the light actually falls, and when to stay out of an actor's way.

Today I lead photography on features, brand films and music videos — and I still colour most of what I shoot. Keeping the grade in-house means the look we agree on in prep is the look that reaches the screen.

• ARRI, RED and Sony workflows, full camera packages available
• In-house colour pipeline, from show LUT to final delivery
• Small-footprint crews for documentary and run-and-gun days