▶ play reel
cinematographer — los angeles
Dir. K-Michel Parandi — Starring Connor Storrie
Dir. Shane Stanger — Slamdance Grand Jury + Audience
Dir. Garrett Warren
Dir. Toby Trackman
Dir. & DP Nathan Haugaard
Dir. Chris Scott
Dir. Taj Stansberry
Dir. Sean Crampton
Dir. Nanea Miyata
Dir. & DP Nathan Haugaard
Dir. Sean Crampton
Dir. Taj Stansberry
Dir. & DP Nathan Haugaard
Dir. & DP Nathan Haugaard
Dir. ayodeji
Dir. Ashley Avis
Dir. Rob Bralver
Dir. Rob Bralver
Dir. Chris Otwell & Graham Suorsa — Additional Cinematographer
Dir. & DP Nathan Haugaard
I believe cinematography should be invisible when it's working — the audience should feel the image before they think about it. Every project starts with the story's emotional core. I operate my own camera. I light with intention.
My credits include the Elton John documentary Touched by Gold, additional photography on James Cameron's Avatar sequels, the Slamdance-winning feature Good Bad Things (streaming on Hulu), the award-winning sci-fi feature April X shot on location in Bucharest, the action short Instakill with Garrett Warren, and commercial campaigns for Rosewood Hotels, Ford, Toyota, and Verizon.
I've been making images since I was ten. What started with obsessive curiosity about light became a career across features, commercials, music videos, and award-winning independent cinema.
Currently in pre-production on my directorial feature debut, The Immigrant — a contemporary western set in Arizona. Actively booking cinematography for 2026.
"Nathan has an extraordinary eye and an even better instinct for when to push the image and when to let the story breathe."— Shane Stanger, director of Good Bad Things
"From the first conversation about the look, Nathan understood the soul of the film. He didn't just light scenes — he built worlds."— K-Michel Parandi, director of April X
Lighting and camera decisions behind the Slamdance-winning feature.
Precision, patience, and the pursuit of the image at Cameron scale.
How the Arizona landscape became a character in The Immigrant.
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