about                                    

Kate’s recent credits include the highly anticipated feature Everyone Wants to F*ck Me starring Taron Egerton (Lucky Chap / Film4) releasing in 2027 and The Education of Jane Cumming (Heimat Films) which premiered in the Berlinale earlier this year to critical acclaim. Other recent credits include the smash hit BBC 2 series What it Feels like to be a Girl, Apple TV’s prestigious Silo, Steven Knight’s Great Expectations and the HBO series The Baby working with Emmy-winning director Nicole Kassell. Kate also photographed The Nevers (HBO) for which she received an ASC nomination for Best Cinematography. Further notable credits include HBO’s Game of Thrones 'The Long Night' (additional photography), season one of Amazon Prime series Hanna and BBC One series Press (on which she was series DP) and Marcella (Netflix). 

Kate’s films have screened in competition at international festivals including Sundance, Berlin and SXSW. She has won numerous awards for her work and was listed in Screen Daily & The British Film Commission’s Next generation of UK Film Award contenders 2020. She was featured as one of 10 DPs in Definition Magazine’s ‘Ascending Stars of Cinematography’ list in 2018, the same year she was invited to become a member of the British Society of Cinematographers. Her documentary credits include Ava DuVernay's Venus Vs., the Emmy-winning TV series Years of Living Dangerously, and Karen Guthrie's critically-acclaimed The Closer We Get. 

Earlier in her career Kate worked as a camera assistant on features including Batman Begins and The Brothers Grimm before studying cinematography at the UK’s prestigious National Film and Television School, where she was the recipient of the Freddie Francis Scholarship. Prior to this, she studied the moving image during an inspirational year at the University of California, and has a background in photography, painting and drawing.

Kate is excited to collaborate with visionary filmmakers, creating images that serve the story and resonate with audiences. The narratives that she is drawn to centre on human experience, often demanding visceral, textured images full of feeling, which give an audience the emotional experience of the character’s world.