I have been involved in film making and photography since high school.

Working on art films got me interested in filmmaking and photography.

I went to York University and majored in film production.

I had the fortune to work on as a production assistant on a real film (Cannibal Girls for Ivan Reitman) and was drawn to the camera department.

I worked as an assistant cameraman for 10 years on documentaries, commercials and dramas (both features and television).

When I started to shoot, I worked on anything. Corporate films, award winning documentaries, dramas and features.

I liked the travel in the documentary work but was drawn to narrative filmmaking. Story telling with pictures. How the interpretation of a narrative could be influenced by the photography. Making the story better. Helping the directors’ vision come to the screen.

During this time, I also worked as a camera operator and 2nd unit director of photography. I had the great fortune to work with many award winning international cameramen: Chris Menges, Peter Pao, John Seale, Jeffery Kimball, John Bailey, Greg Gardiner to name drop a few. Also many not so famous, equally talented, cameramen.

Part of my work with them was observing and talking to them.

It wasn’t so much the technical things, it was the attitude and the thought process behind the descisions that were made.

The approach to the material and the concerns that involved the process.

The thinking part. The creative part. The planning part. The taste part.

These were the lessons learned there. How to approach putting the story first in a creative and efficient way.

My own approach to these concerns has been made more cohesive by these lessons. What story does the director have in mind with the script. How does the director see the movie? How does this scene fit visually to the story's concept? What kind of film are we making?

I always punch above my weight class.

I always push the bar higher.

Always.