Throughout my career as the Director of Photography on thirty plus feature films and various television shows, I feel I have produced significant works, which combine a visceral immediacy with a conceptual richness. Dinosaur for Disney Studios combines 1300 visual fx shots and is considered one of the most expensive films ever made; the low budget Indie Joyride stars Tobey Mc Guire and Benicio Del Torro. On The Lot, a unique Reality Series produced by Steven Spielberg and Mark Burnett, rounds the diversity of my work and oeuvre.

My working methods have been highly creative and divergent having worked with high definition camera’s and veteran director James Cameron's documentary: Expedition Bismarck. I Hope They Serve Beer In Hell’s Bob Gosse & American Carol was directed by the infamous David Zucker; Sometimes they Come Back stars Hillary Swank, Black Cadillac stars Randy Quaid & The Net 2.0 and Home of the Brave (Samuel Jackson) was shot in Turkey and Morocco with the Irwin Winkler Co. respectively; Akeelah and the Bee stars Lawrence Fishburn and Ripple Effect with Academy Award Winner and nominee Forest Whitaker and Virginia Madson. Nicolas was the very first feature shot with High Definition cameras using Panavision 24P digital.  I've also experimented with large format film photography on Our Country and X-Games in IMAX format and lensed the documentary Icebound shot on location and underwater in Antarctica. Another film "78", produced by 20th Century Fox, was at Sundance & I spoke there on a High Definition cinematography panel.

My first serious art making was through still photography and I began to discover the aesthetic possibilities a visual medium could offer.  I worked with this medium as a hobby for many years, always with a "design" approach.  I continued these interests in the Boy Scouts and later attained it's highest rank--Eagle Scout.

Double majors in Media and Communication and minor in Economics from UC San Diego, significantly prepared me for graduate study in film production at the University of Southern California, where I received my Master's degree.  Initially my work with NBC, ABC and Espn sports videography, along with my USC filmmaking experience,  helped develop my skills as a cinematographer. I studied under renowned cinematographers such as Alan Daviau, ASC (E.T.), Vittori Storaro (The Last Emperor), and Conrad Hall (American Beauty). Initially, I tried to develop innovative means of expression using the motion picture camera to create contextually rich and powerfully symbolic works of art.  Secondly, as a cinematographer I intended to develop and utilize technical advances to broaden the aesthetics of the visual medium.

I've enjoyed the collaboration of many talented people in the and on occasion, I have gone back to school as a guest lecturer to pass on the aesthetics of the cinematography to a new generation of filmmakers.  Some recent quotes about my work: "A box office behemoth if there ever was one, "Dinosaur" is an eye popping visual spectacle that serves up a vivid picture of what the planet may have looked like when dinosaurs ruled the earth...nothing like you've ever seen before."   Variety;  "He's fantastic with the camera on his shoulder -- excellent instincts when it comes to diving in on a prop or an actor's reaction...a DP  who has the goods and the personality to match -" Charles Winkler; "He's efficient with equipment and time, bringing back unique and spectacular imagery, while always concerned with the bottom line." - David Mackay, Producer/Director.

I’m represented by my agent as well as my wife and two children.

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