Cinematography in Canada Since 1957

#BradleyStuckel #AssociateMemberCSC @bradleystuckel_dp

It’s been great sharing my journey here over the past two weeks. Looking back at these projects, I’m reminded of the experiences and people who’ve shaped my path. From experimenting with short films to shooting in places like India, each project has taught me something new about telling a story visually.

For me, cinematography is about capturing those honest, human moments. It’s about using light, shadow, and movement to draw people into a story and let them feel something real. Collaboration is at the heart of it all, and I’m grateful for the directors, crews, and friends who have been part of this journey.

Thank you to the CSC community for this opportunity, and to everyone who’s followed along.

#cinematography #csc #canadiancinematographer #cinematographylife

#BradleyStuckel #AssociateMemberCSC @bradleystuckel_dp

Short films have been a big part of my journey as a cinematographer. They’re where you can really get creative and push ideas to the edge without the pressure of a feature-length production. Every shot, every cut has to count, and that challenge has taught me a lot about storytelling.

Working on these projects with Jesse Foster ( @jesse.mcrae.foster ) as director and Kyle Sanborn (@kysansan ) as editor has been a rewarding process from start to finish. There’s something about building each film from scratch with the same core team that makes every project feel like an exploration. Short films give us the chance to try different visual styles, test out ideas, and see what really resonates.

For anyone starting out, I’d say short films are more than a stepping stone… they’re a space to find your style, take risks, and keep growing in ways you can carry into every project afterward.

#cinematography #csc #canadiancinematographer #shortfilm #findyourstyle #aspiringcinematographer

#BradleyStuckel #AssociateMemberCSC @bradleystuckel_dp

I want to jump back to where I started with experimental film and experimental formats.

I don’t have any shots, but my first film as a cinematographer, Graveyard Shift, holds a special place for me. It was the first time I worked on a film project with friends from film school. What made it unforgettable was that it was shot on Super 16mm, introducing me to the world of film in the most hands-on way possible. I fell in love with the process… using a light meter, setting exposures, and making creative decisions with just the knowledge I’d gained from school… guided by my incredible teacher @philip.letourneau . The film was nominated for the CSC Best Student Cinematography Award.

The most memorable part when first shooting on film was the blend of excitement and uncertainty… making choices without knowing exactly how they’d turn out. That experience taught me not only the technical aspects but also the importance of leaning into your instincts and embracing feeling.

Let’s go back to some early experimental films I shot. After film school, I continued exploring film on a few projects featured above, “The Balance” (shot on Super 16) and “Pick” (on Super 8), each carrying its own unique challenges. The other project featured is “Sugar Skull Man” which wasn’t shot on film, but rather GoPro 3D… which was a challenge unto itself.

It’s moments like these that remind me of the thrill of experimenting, making art with friends, and finding joy in the unknown. To aspiring cinematographers: take the time to experiment, play around with different formats, and push your creative limits. These projects are where I learnt the most.

“The Balance” directed by Joshua Whitford
“Pick” directed by Benjamin Hayden
“Sugar Skull Man” directed by Spencer Estabrooks


#cinematography #csc #canadiancinematographer #16mm #super8mm #experimentalfilm #shotonkodak #gopro3d

#BradleyStuckel #AssociateMemberCSC @bradleystuckel_dp

JL-50 stands out as one of the most enriching experiences in my career, allowing me to work at the intersection of sci-fi, mythology, and the cultural heritage of India. It was an adventure in every sense, not only in filmmaking but in experiencing India’s richness firsthand. People often ask me what India is like, and I always say, if magic exists anywhere, it’s in India. There’s an energy in the culture, landscapes, and people that’s unlike anything else.

One of the most rewarding aspects was discovering how Indian audiences emotionally connect with themes on a more introspective level, where storytelling isn’t always driven by spectacle but by subtle layers and historical depth. This was my fourth project working with director Shailender Vyas ( @shailender.vyas ). Shail’s vision for JL-50 was to create a film that bridged past and present, a story that brought mythology into a modern context, yet kept the sense of adventure alive. My goal was to craft visuals for Shail that honoured India’s cultural roots while capturing the thrill of discovery that comes with sci-fi.

JL-50 wasn’t just a film for me, it was a journey. The people we worked with, talented actors and dedicated crew members, made this project unforgettable. Their warmth and openness made every challenge feel lighter and every moment more inspiring. JL-50 reminded me of how powerful cinema can be when it’s rooted in the beauty and complexity of a place. India has a magic all its own, and it’s a privilege to have captured even a piece of it through this film.

#cinematography #csc #canadiancinematographer #scifi #india #timetravel

#BradleyStuckel #AssociateMemberCSC @bradleystuckel_dp

As filmmakers, selecting the right genre and tone is one of the most crucial decisions you make. Horror, in particular, is a powerful tool for exploring complex themes through a visceral experience that resonates with audiences. While some might view horror as formulaic or less artistically challenging than drama, working in horror has shown me how much depth and creative potential it holds. In my experience, horror is an art form that allows cinematographers to explore universal fears and provoke powerful, often raw responses from the audience.

In projects like Spiral @kurtisdavidharder , Still Born & Z @thebrandonchristensen each film’s unique approach pushed me to create atmospheres and visuals that reflect everything from psychological terror to societal anxieties. For Still/Born, we emphasized the psychological horror of postpartum experiences, using shadows and tight framing to make Mary’s isolation feel both real and terrifying. Z transformed familiar spaces into haunting territories, showing that horror can make even the mundane feel dangerous. Spiral used horror to tackle social themes, using tension to explore prejudice and isolation in seemingly safe suburban spaces. All of these films can be found on IFC Shudder.

Through horror, I’ve learned that genre isn’t a limitation but a canvas… sometimes the unseen evokes more fear than the visible. For aspiring cinematographers, horror is a genre that requires subtle choices that let the audience feel tension well before anything overtly frightening happens. This is what makes horror an artful, challenging space: its capacity to connect deeply with audiences, not just through scares but through the themes and fears that lie beneath.

#cinematography #csc #canadiancinematographer #horrormovies #shadows #genre

#BradleyStuckel #AssociateMemberCSC @bradleystuckel_dp

There’s something uniquely powerful about music as an art form. In just three to five minutes, a song can capture emotions, tell a story, or create an experience that resonates deeply. I’ve always admired how a short piece of music can evoke as much feeling as a full-length film. For cinematographers, this makes music videos an invaluable space for honing creativity and visual storytelling. Unlike feature films or commercials, music videos allow for a more fluid, experimental approach with fewer boundaries and more opportunities to take risks and play with new ideas.

What excites me most is how music videos become a canvas for innovation,blending formats, pushing creative boundaries, and crafting visuals that amplify the song’s message. It’s not just about making something visually striking; it’s about enriching the audience’s experience and deepening their connection to the music.

The energy on set is unmatched. Watching artists perform, seeing their passion, and translating that into compelling visuals is always rewarding. Music videos always remind me of why I initially loved cinematography: the chance to explore, create, and tell visual stories that last a moment but stick in your head for a lifetime.

@jon.vinyl “Told You” directed by Alim Sabir ( @alimsabir )
@mothermothermusic “Explode” directed by Colin Minihan ( @colin_minihan )
@jon.vinyl “Stacy” directed by Alim Sabir ( @alimsabir )
@crownlandsmusic “White Buffalo” directed by Alim Sabir ( @alimsabir )

#cinematography #csc #canadiancinematographer #musicvideo #creativefreedom #musicismedicine

#BradleyStuckel #AssociateMemberCSC @bradleystuckel_dp

Empyrean was one of those rare chances to dive deep into a black-and-white, arthouse sci-fi project. Initially, we wanted to shoot on Super 16mm to capture more of an organic texture, but the budget just didn’t allow for it. So, we pivoted to the RED Monochrome Dragon. After a bit of persistence, we managed to get the first Monochrome Dragon camera shipped to Canada… a new model straight from RED. Even with some technical hiccups and needing a replacement mid-shoot, it felt like a stroke of luck to work with that camera.

Shooting in black and white pushed us to think differently. Colour wasn’t an option, so we had to lean fully into light, shadow, and texture. Tommy Lee (@thomasrobertlee ), the director, was inspired by Bergman and Tarkovsky, so our goal was to make each frame feel meditative and atmospheric. We played with natural light and embraced high contrast, building a look that felt stripped down yet visually intense.

Empyrean was special… it had a great collaborative spirit. We were a tight-knit crew, working with friends and colleagues who fully embraced the challenges of shooting something this unconventional. Working with a lean setup made every shot feel intentional, and there was a real freedom in that minimalistic approach.

#cinematography #csc #canadiancinematographer #arthousecinema #scifi #monochrome #blackandwhite