Where in Yorkshire are you based?

live near Hebden Bridge in the beautiful Calder Valley, also known (thanks to Sally Wainwright) as Happy Valley. It’s a peaceful place to reset between jobs. I’m right in the middle of the north, with easy access to several major cities: about 40 minutes to both Manchester and Leeds, and just over an hour to Sheffield.

Do you work with crew?

Depends on the job - but yes as much as I can. I can operate solo for lean work, or bring in trusted crew — camera assistants, gaffers, grips, sound, etc — for larger productions. Generally at this stage in my career I’m leaning towards jobs that incorporate collaboration with others, this also allows for greater creative expression and production quality due to larger equipment options. My network is full of incredible, talented professional who are more like friends than colleagues, who care as much about the final product as I do.

Do you still work in Manchester?

Yes! Just 40 minutes away. I have a base in the city and shoot in and around Manchester almost weekly. Over the years, I’ve worked on projects for iconic Manchester brands and destinations, including the Arndale Centre, Transport for Greater Manchester and Manchester United.

I’ve filmed in Northern Quarter cafes, Victoria Baths, the canals around Castlefield, and even up high on rooftops in Spinningfields. Manchester’s grown on me in the last decade — from the energy of its creative scene to its coffee culture, it’s a place that now feels like a second home. Whether it’s branded content, doc work, or narrative, it’s a city I know like the back of my hand.

What kind of equipment do you use?

I’m an owner-operator of the Sony Venice cinema camera — a beast of a system built for high-end productions. It’s a modular workhorse that can scale beautifully, whether I’m shooting a small branded doc or a full-blown Netflix drama. You can see my full equipment list here.

I also carry a well-rounded package of cinema lenses, lighting, and grip gear, but I’ll always tailor the kit to the needs of the shoot. While I own and regularly use some core lenses, I often rent more specialist glass to achieve a particular look or emotional tone. Lenses are like spices in cooking — you pick the ones that elevate the flavour.

When it comes to lighting, I typically collaborate with a gaffer, who may bring their own lights or source from trusted northern rental houses like Provision or PKE Lighting. My extended crew network means I can scale up fast and with confidence.

Are you in London?

London’s always been part of my filmmaking career. I spent nearly four years documenting the construction of The Peninsula Hotel in Belgravia — a project that gave me a real appreciation for the scale, detail and pace of the capital. More recently, I’ve been down shooting a commercial for Nike, a social media campaign for Aldi and filming pitch side at Wembley for UEFA/Playstation. It’s a city I know well, and I still enjoy dipping back into its rhythm when the right project calls.

Do you director documentaries?

While my day-to-day work is as a Director of Photography and Camera Operator, I’ve also produced and directed two feature documentaries, the Last Fisherman and Anholt. I’m one half of James², a collaborative partnership with fellow filmmaker/director and all round brilliant human being, James Copson. We specialise in character-led branded documentaries rooted in authenticity and story.

Though I don’t direct everything I shoot, I occasionally step into the director’s chair — for example on Truth and Illusion, where my insight into black and white, analogue photography helped inform the style and story. The short picked up a BSC award nomination for its cinematography and found success on the festival circuit before becoming one of the most watched videos on Ilford’s channel. If the story’s right, I’m all in.

Do you take on trainees or apprentices?

Yes, I do. In fact, I became the oldest camera trainee in the UK when I was accepted onto the BSC mentorship programme — I was in my mid-thirties, working under Oscar-winner James Friend BSC ASC. That experience gave me a deep appreciation for the role. I effectively became a professional trainee — and it completely reframed how I approach mentorship and learning on set.

I’m currently working with local organisations, including Calderdale Council, to develop an entry-level screen craft workshop series aimed at helping new talent get their foot in the door.

Camera and lighting trainee roles are crucial in this industry. When the budget allows, I always ask to have a trainee on set — not just to help out, but to build a culture of learning and support.

You don’t need experience to be considered. What matters most is passion, a strong interest in camera or lighting, a willingness to work hard, listen, ask questions and be part of a team. It’s not about knowing it all — it’s about showing up and wanting to learn.

If you’re local and looking to shadow or assist, feel free to get in touch. I can’t always say yes, but I’ll always try to help however I can. And if you're just starting out or looking to meet others working in the northern screen industries, check out The Square Lens Alliance — a growing network for creatives looking to learn, connect and collaborate.