Nathan Haugaard is a Los Angeles based cinematographer specializing in narrative features. His credits include Avatar: The Way of Water, the Slamdance-winning Good Bad Things, and the award-winning April X.
HAUGAARD
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cinematographer — los angeles
April X
Dir. K-Michel Parandi — Starring Connor Storrie
Good Bad Things
Dir. Shane Stanger — Slamdance Grand Jury + Audience
Instakill
Dir. Garrett Warren
Elton, Touched by Gold
Dir. Toby Trackman
Ford Lightning
Dir. Nicholas Maggio
Fragile
Dir. & DP Nathan Haugaard
ADHD
Dir. Chris Scott
Cap
Dir. Taj Stansberry
Helmet
Dir. Sean Crampton
Dead in the Water
Dir. Nanea Miyata
Ooh Girl
Dir. & DP Nathan Haugaard
The Street Cowboy
Dir. Sean Crampton
Say Less
Dir. Taj Stansberry
Rosewood Residences
Dir. & DP Nathan Haugaard
Vendetta
Dir. & DP Nathan Haugaard
Fool4Love
Dir. ayodeji
Lionne Blanche
Dir. Ashley Avis
Day of Joy
Dir. Rob Bralver
Like a Motherless Child
Dir. Rob Bralver
The Fastest Woman on Earth
Dir. Chris Otwell & Graham Suorsa — Additional Cinematographer
Moby Doc
Dir. Rob Bralver
100 Degrees
Dir. & DP Nathan Haugaard
I photograph narrative features. The audience should feel the image before they think about it — and a great cinematographer makes every frame serve the story. I operate my own camera. I light with intention. I make films that win.
My work on James Cameron's Avatar sequels taught me what it means to operate at the highest level. The Slamdance-winning feature Good Bad Things (now streaming on Hulu) proved I could bring that same discipline to a micro-budget set where I was the entire camera department. The award-winning sci-fi feature April X — 31 international festival wins — showed what happens when ambition meets precision on location in Bucharest.
I've also photographed the Elton John documentary Touched by Gold, a national Ford commercial, music videos for KSI and Swizz Beatz, and branded content for Rosewood Hotels. I bring everything I've learned on those sets to every project I touch.
Booking narrative features, limited series, and select commercial work 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
Let's make something together.
IATSE Local 600