I've had a love of cameras since I was four years old. My parents made theatrical shorts in England. My first job in show business was riding a live 7-foot Alligator in a film they made about people with strange pets. My father was a cameraman, he was the all powerful wizard with the magic machine that I have tried to master throughout the rest of my life. At 19, I had not made a success of my goals. Truly feeling washed-up, I emigrated to Canada and found myself embraced by a country with an artistic generosity. I turned to film and shortly founded a company called Insight Productions with the same business partner I have now, John Watson. I would film and John edited. We won over 60 international awards including two Oscar nominations.

One of my visual investigations was a grant from the Ontario Arts Council to film water reflections - a subject that combined my interest in reflections with water's fantastical elasticity and organic beauty. Finally, I wrote and directed Insight's first dramatic film - a harassing experience because I was a documentary maker working with a documentary crew and we were all trying to invent dramatic film conventions. Amazingly, it won a great many awards and the attention of Norman Jewison, who worked with the Canadian government to mentor me and to finance my journey to Hollywood. My partner John and I ended up writing and/or producing many features - our projects have grossed over a billion dollars to date. They include Robin Hood: Prince of Thieves, Backdraft, Blown Away, Dangerous Lives of Alter Boys etc. I was also responsible for reviving both the Outer Limits and Twilight Zone series on US Television. And, I was also able to direct several of my scripts, including Moll Flanders starring Robin Wright and Morgan Freeman, and Houdini starring Johnathon Schaech and Mark Ruffalo.

...All this while I continued my photography - strictly taking Kodachrome slides, as I felt the hard-mounted end result forced me to see the final image in the act of creation - rather than to rely on cropping later. My logic was that film cameras compose the same way.

I was on a trip to Hawaii where I decided to wade out chest high into waves with the camera (I have a rule - never buy a camera you are afraid to lose!) And started to explore water images again. I broke free of my old dogmas of photography - compositional forms, sharpness, horizons, time and space. I was intrigued by how people would react to the strange, undisciplined beauty I was capturing with "fluid" images. Where the camera is an instrument collecting light, water and air in single, full frame exposures, tweaked only for sharpness, saturation, highlights, shadows, etc. The freedom from hard forms gives me my most wished-for effect, of making the eye dance into the image, rather than take in the whole composition in a single glance.