Born in the United States, Jeffrey spent his formative years around the world, living in seven cities in four countries on three continents before graduating high school. Moving to Los Angeles, he graduated from USC’s Cinema-Television Production program and received an MFA in Cinematography from the American Film Institute Conservatory. Narrative feature films he has photographed have premiered at the Berlin International Film Festival, the Tribeca Film Festival, and South by Southwest, and he has been nominated for Best Cinematography at the Independent Spirit Awards. Jeffrey has directed and photographed documentary films in Brazil, Rwanda, Thailand, Cambodia, India, and New Zealand, and his television work includes original series for Netflix, Hulu, Amazon, Sony, IFC, and HBO. His passion lies in unforgettably visualizing the world’s important stories, both as a documentary director and narrative cinematographer. 

On Dear White People:

“(Barry Jenkins) and cinematographer Jeffrey Waldron play the camera like a musical instrument. … When the show reaches its traumatic climax, Jenkins and Waldron abandon the wide canvas they’d been working with, infusing the frame with a terrifying, suffocating claustrophobia. It’s masterful work.” – Vulture

“The collaboration between the director and cinematographer Jeffrey Waldron led to visuals rich in nuanced detail, layered with complexity, while cinematically adding ocular flavor to storylines.” – NoFilmSchool

“Cinematographer Jeffrey Waldron’s color palette is defined by deep greens, reds, and golds, rounded out with hazy pastels. The bolder colors in the clothes and set design pop out violently, making the faces of the perfectly lit leads a soft resting place for the eye.” -Slant

“Gorgeously shot in a warm palette, “Dear White People” is alive with vibrant cinematography.” – The Playlist

On Transpecos:

“Rivaling the multiple star turns in Transpecos is one from someone not actually in the film. Cinematographer Jeffrey Waldron’s use of the open-air desert panoramas initially offer the atmosphere of freedom and autonomy. Proving false, the desert becomes a trap, a dusted prison, and unceremonious burial site.” – Austin Chronicle

“An exploration of the shifting borders between right and wrong, loyalty and dishonor, all brilliantly set against the backdrop of Jeffrey Waldron‘s wondrous cinematography.” – Huffington Post

“Clean, meditative cinematography from Jeffrey Waldron contributes a sharp visual barb to the moral dismay.” – Silver Screen Riot

“Shooting almost entirely outdoors, cinematographer Jeffrey Waldron has a keen eye for his surroundings, best shown with one magnificent image of the trio backlit against the setting sun.”  – Variety