In many ways my origin story echoes the trajectory of snowboarding itself – raw and improvisational beginnings that evolved into a refined visual language. I was born and raised in Northern California. As a teenager I lucked into a Super‑16 mm film camera and started filming friends at Squaw Valley long before snowboarding became mainstream. My artistic film style was forged from a unique blend of influences — a skateboard and ski background, punk rock roots, and the raw, do-it-yourself ethos that came with them. Those early experiences taught me to trust my instincts, embracing creativity without overthinking. I never attended formal film school; instead, I pieced together techniques from experiences at my performing-arts high school, backyard skate films and , learning to improvise, adapt, and let authenticity lead the way. By the time I was twenty‑five I had already lugged that camera across more than two dozen countries, searching for the perfect line, the right light and an honest moment.

The break came when Arthur Krehbiel and I pooled our resources and founded Fall Line Films. In 1989 we released The Western Front, a 16 mm snowboard movie that helped kick‑start Tahoe’s snowboard‑film boom. Snowboarders in Exile followed a year later, showcasing the sport’s rapid progression and casting riders like Damian Sanders, Dave Seoane and Noah Salasnek as onscreen heroes. At a time when resorts barely allowed snowboarders on lifts, our films captured athletes hurling off cliffs and turning skate‑style tricks in to the art of snowboarding. This defined a culture that reached a global audience hungry for a new uncharted sport . We weren’t just documenting a sport; we were shaping its mythology.

That desire to be first pushed me beyond North America. Fall Line Films shot the earliest 16 mm snowboard footage in Alaska, Japan, France, Sweden, South America, and we travelled with an unruly crew of pioneers – Farmer, Ranquet, Damian Sanders and others – telling character‑driven stories. Our films became the “hero‑makers” of the 1990s. When the action‑sports boom collided with mainstream advertising I found that the same storytelling instincts resonated with a broader audience. What started as a kid’s adventure behind a 16mm camera and lens soon evolved into directing feature films, high‑energy Television Commercials, Films, Documentaries and TV shows.

Today I work as a director and Director of Photography on automotive, tourism and action‑sports commercials. The language of speed and movement that I learned chasing snowboarders down powder faces translates naturally to car spots and tourism campaigns, and I’ve now filmed in more than fifty countries for some of the world’s biggest brands. I still shoot and I still love to chase new perspectives. The camera has taken me from glacial faces to city streets, and when I’m not on set you’ll likely find me chasing another horizon – sometimes from the cockpit of a fixed‑wing plane or on the back of a horse!