I am blessed to shoot a lot for the Annenberg Foundation. This was off the coast of Brazil.

Checkout the other stills for the foundation here: 
Foundation Photographs

I'm not a big vacationer, so all these are countries I've worked in. I would like to hit 100 before I'm done.

Framing such an emotive moment must have been a rush for photographer Paul Leifer. It goes down as one of the most iconic sports photographs of all time but actually its so much more than that.

I grew up loving the landscape of westerns. It's hard to pick a favourite but The Searchers would be up there. The way John Ford starts and ends the film with practically the same scene is inspiring composition and storytelling.

I'm a keen golfer. Last year I shot 67 at my home course. Doubt I'll ever beat that but I'll keep trying.

This is my Bike. Its one of only five I know of in the USA. As with most things Italian it looks a lot better than it works!

I still make an effort to shoot on my Pentax 6x7. Using the prism and the medium format glass remains so visceral.

I shot a pilot in Gabon years back. The center of the piece was an eccentric Frenchman who would play only one CD over and over again - Fela Kuti. By the end of the job I was hooked on Afrobeat.

I love basketball and I am a devotee of the purple and gold. 16 titles, showtime and watching the big diesel.

The best book I've ever read. Tried and tried to get the film rights. I live in hope.

I was the A camera assistant for John Toll on Braveheart when he won his second straight Oscar. Being part of an academy award winning team is huge for me. I know from experience what a collective effort it is to reach that pinnacle. My Brother was nominated for Thelma and Louise. Something that makes my family and I extremely proud of his legacy.

Since coming to the USA at the millennium. I've always lived in Los Feliz. Looking up to the observatory means I'm home.

When I think of working with Ridley, this is how I picture him. I used to get many a cigar burn when he operated camera, inadvertently of course.

When I first saw this piece in person I looked at it for an eternity. Taking in the light and the shade, the drama of the moment, it all just clicked for me. This is what the art of cinematography and painting with light should aspire to.

This is my car. I have the last of the old body style, in the 3.2 liter, and I still love it.