Camera operating can be likened to playing a musical instrument, and I believe camerawork involves dynamics just as music does. I am unhealthily perfectionist, and since childhood I have always intently observed, and tried to imitate, the operating style of existing works down to a minute level. Particularly with film work (or any work involving a filmic style), I try to replicate the type of operation one would achieve with a full size 35mm camera; the weighting of the camera, the tension in the head, and the contact with the pan bar at all times even in static shots replicates the slight jitter and authentic, 'human' feel of true 35mm cinema. Heavily inspired by cinematographer Robert Elswit (a defender of shooting on negative rather than digital) - and especially inspired by his style in Magnolia - I aim to give the camera an authentic, 'human' life and presence within the picture, and to give it realism - as opposed to an overly clean, robotically executed shot with a flat, digital, video-look. I am fond of deep focus, extreme close-ups, the effects of anamorphic lenses and find film jitter extremely warming. Balance within the frame with consideration to style, and minute framing adjustments throughout the shot, are sixth sense. I believe in constant engagement with the camera; a locked-off camera during a shot is a very sorry sight to see (unless, of course, its operation would result in the injury or death of its operator).

My favourite types of shot are dynamic, intense ones, particularly moving camera (especially dolly), and extremely tight down-the-line shots with lots of objects at different levels of focus within the frame at once. 

I am extremely fond of the works of Lynch, P.T. Anderson and Kubrick, and greatly admire Kubrick's shrewdness and perfectionism, and Lynch's passion and humanistic/spiritual approach.

With documentary work I operate stylistically to suit and sometimes emphasise the narrative playing out before the lens. I am a consistent user of manual zoom as I like to maintain an energy and interest within the shot, 'driving' the audience's eye. I also aim to make my documentary camera work as cinematic as possible in the places where it is appropriate.

As a musician will play with virtuosity, flair, thrill and passion, rather than hitting the notes cleanly and equally; I believe truly great camera operation comes not from simply operating smoothly, exposing correctly and making sure that the subject is in focus - but by putting that very same virtuosity, flair, thrill and passion into it.