The first thing in any camera work is communication. I want to find out what the producer or director wants and needs. I like news and documentary cinema vérité because you have to move quickly - while figuring out what's going on so you can get the camera into the right spot. It's demanding and tough work, but it's also a lot of fun. If it's a drama and there's a special look I need to create, that's another approach, and I have a lot of experience with lighting, filters and lenses".

"Photographing both documentary and drama makes me better as a cameraman. I've learned to work with all kinds of lights and all kinds of situations as a result. I've used cheap IKEA paper lanterns to light a scene and at other times I've worked with a complete grip truck and a full HMI light package. It all depends on what look the film needs while factoring in the available budget. I've done shoots where I had both a crane and dolly for the camera, and other times when I sat in a wheelchair with a hand-held camera to fake a dolly. It's easier to work with a real dolly, but you don't always have the money to solve a problem the easy way".