With over 20 years experience, I am a DOP working in features, commercials and documentary.
I’ve worked on some fantastically creative and diverse projects from Wes Anderson’s highly acclaimed feature, Isle of Dogs to award winning commercials like The Knitted Ad Break  (ITV Creative's first DA&D’s pencils) and in documentary with Still Enemy Within (Audience Award at the Sheffield  Doc Fest).  
What unites these projects is an approach that combines preparation, research, and collaboration with a determination to make the best of the resources at hand. I enjoy long term relationships with some of the UK and Europe’s most successful production companies, so whether it's shooting hi-speed and puppetry in Kiev to owls in Crystal Place, whether a charity film in Cambodia or aerials over the Brecon Beacons in the magic hour, I’m always equipped to get the best possible shot.
I believe strongly in collaboration; in working closely with the director and production team to create the best films and getting every last drop of value from the budget. I draw upon an arsenal of technical knowledge honed over hundreds of projects on a huge array of formats. My background in fine art and photography informs my approach. I'm sought out to shoot multidisciplinary projects that involve or combine stop frame, time-lapse, 360 VR, motion control, tabletop, food and pack shots and my strong knowledge of post-production and VFX has proved to be a consistent asset on set. 
Quality, creative lighting is at the heart of every shoot. Whether referencing the world of film-noir for Frankenweenie to the recreation of lighting from a complex location in the studio,  it's the variety and challenge that always excites.  It could be a giant, animated turkey having a boxing match  for a Si & Ad commercial or an elegant food shot lit in the boot of a car in Salford.  What matters is not where or how you shoot,  it's about putting the audience in the place you want them to experience.  
Technology has changed a great deal since my early shoots where I shot effects in-camera and on film. I’ve embraced change every step of way and some of the best projects regularly fuse digital sensors with vintage glass and techniques as old as cinema itself. The future's not about disposing of what we've learnt and ultimately it doesn’t matter whether it’s HMI or LED, 4K or super 8, it’s the story that counts and the images we create to support it.
I've taught Cinematography for the Met Film school and Four Corners and mentored members of the camera department for Skillset training schemes.  In 2017 I joined The Guild of British Camera Technicians.  A not-for-profit association of knowledgeable, qualified and craft trained camera technicians dedicated to upholding quality and standards in the film, television and related media industries.
Please use my contact form if you have a question or you’d like to discuss a forthcoming shoot. 



I have worked with Malcolm on a number of occasions. I value him enormously for his creativity, his professionalism, his knowledge and his manner. It’s always an absolute pleasure to work with him.
Trine Johnson Senior Producer, ITV Creative
I would definitely recommend him, he’s a very talented DOP. He’s very thorough and our interviews looked very polished. It was a pleasure to work with him. 
Jane Greaves Producer, Blast Films
I have worked with Malcolm and highly recommend him. He’s worked for us over the last 8 years and is a true professional, dedicated, skilled and great to have on any production team. 
Simon Gascoigne Cisco TV
Malcolm is a talented Cinematographer. He contributes creatively and solves problems, if they arise. He is supportive of the production and has a good understanding of post-production techniques, too. He is also a very relaxed person and a pleasure to have on the shoot. 
Glenn Holberton Producer, Loose Moose
Download a CV 
Listen to a short interview about my work on Movidiam 
Read an interview about shooting Frankenweenie by Call Sheet