Jeff Maher is a Toronto based cinematographer known for his work in film and television. Recent works include The Oak Room which premiered at the Fantasia International Film Festival where it won the audience award and went on to win Best Cinematography at both the South African Horrorfest and the Jelly Fest and was nominated for a Canadian Society of Cinematographers Award (CSC) for Best Cinematography in the feature film category. Other works include the award winning series Blood and Water: Fire and Ice as well as Parapan Am Games : Are You Ready for which he won a Canadian Society of Cinematographers Award (CSC) for commercial cinematography.
Recently, he shot the Shutter original Vicious Fun, directed by
Maher’s commercial clients include Samsung, Lincoln, Mini, Kawasaki, Famers Insurance, AARP, Dyson, Bose, Sonic and the Toronto Symphony Orchestra.
"I haven’t directed anything without him as the Director of Photography and I don’t know if I ever would, because the amazing thing about Jeff is, besides being a brilliant cinematographer, he really gives a s**t about the story. It’s hard to make movies at this budget unless you really trust everybody, and of course I trust him with my life, but on set he’s just amazing because it feels like he’s not just there for how it looks, but he wants the content to be the best it can be. And you can’t ask for anything more."
Cody Calahan - Director
"What is consistent throughout is the excellent cinematography from Jeff Maher. He is able to set the tone and dark foreboding from the start. Maher utilizes shadows expertly, and even in the day time scenes, we never feel safe or sully secure with the room that we are in. This is never highlighted more than in those final perfect scenes that have us on the edge of our seat."
"Jeff Maher's cinematography paints a bleak yet beautiful picture with a faintly threatening air of repressed violence from first frame to last."
Katelyn Nelson - Killerhorrorcritic.com
"One of the most impressive things about Vicious Fun is how much it looks and feels like an ’80s film. This is achieved not by carbon-copying every convention, but by capturing the nostalgia and memory of that time in cinema. Jeff Maher’s cinematography shines through in this respect. Every shot is drenched in neon and a fine layer of grain as if we were watching it on an aged VHS tape."
Thom Bee - Vampiresquid.co.uk