Cinematographer

In my work as a cin­e­matog­ra­pher I strive to be con­fi­dent in the tech­nol­ogy and equip­ment used so that I oper­ate from the right hemi­sphere of my brain to observe light, color, pat­terns, move­ment and how these vis­ceral ele­ments can be cap­tured in a dance with the cam­era to tell a story.  There is no box.

Here are a few exam­ples of recent work.

Direc­tor of Pho­tog­ra­phy

Doc­u­men­tar­ian


DP

2nd Cam­era

2nd Cam­era

LIGHTING

Because the main energy of visual story telling is light, I have stud­ied light for many years. Get­ting for­mal train­ing with grip and elec­tric gear in film school and my intern­ship at Cinepart­ners Grip and Elec­tric rental house, I was equipped with the knowl­edge of the lights used in pro­duc­tion.  Sev­eral years work­ing as a gaffer and light­ing assis­tant has given me the abil­ity to uti­lize those tools to use light to the advan­tage of the story.  Light is one of my favorite toys.

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EQUIPMENT

SONY A7sII

Nikon 50mm, 85mm f1.4 primes

Tam­ron 24-70mm f2.8 w/ Vibra­tion con­trol

Canon 24mm f.28

Sticks, Fluid head, slider, monopod, shoul­der rig

500W, 1000W tung­sten

750w spot­light

Par­cans x4

Day­light CFL soft­box set

Day­light 500w LED panel

On cam­era LED