Cinematographer Stuart Dryburgh is the eye behind some of the most iconic images in New Zealand film. His first job in the industry was as a 'general assistant' on Middle Age Spread. From there he worked as a gaffer (electrician) on classic films like Smash Palace and Goodbye Pork Pie, before becoming a fully-fledged cinematographer. Since shooting The Piano, Dryburgh has mainly working overseas, although he returned to film In My Father's Den in 2004.

In this ScreenTalk, Dryburgh talks about:

• Making his first film with the help of Lenny Lipton’s book Independent Film Making
• The challenges of lighting a night shoot on short film Queen Street; and using film stock ordinarily reserved for news reporters
• Meeting future collaborator Jane Campion on the set of Queen Street
• Learning about method acting as a young gaffer on Smash Palace
• Being put in charge of lighting on Vigil under 'über-prepared' director Vincent Ward
• Getting creative with a "mass of messy light" on Alison Maclean's classic short film Kitchen Sink
• Reuniting with Jane Campion for An Angel At My Table
• Using "good, old-fashioned trick photography" on An Angel At My Table; and how they made Janet Frame's red hair "pop" on-screen
• His thoughts on the "wonderful conundrum" that is Jane Campion
• How he knew The Piano was going to be something special
• The look director Lee Tamahori wanted for Once Were Warriors
• Filming the infamous "cook me some eggs" scene
• Why In My Father's Den was one of the easiest films he has ever been involved with
• The advantage of being a Kiwi on American film sets