A camera crew sets up for scenes to be filmed on the flight deck for the motion picture Stealth with the crew of the Nimitz-class aircraft carrier USS Abraham Lincoln (CVN 72).

A cinematographer is one photographing with a motion picture camera (the art and science of which is known as cinematography). The title is generally equivalent to director of photography (DP), used to designate a chief over the camera and lighting crews working on a film, responsible for achieving artistic and technical decisions related to the image. The term "cinematographer" has been a point of contention for some time now; some professionals insist that it only applies when the director of photography and camera operator are the same person, although this is far from being uniformly the case. To most, "cinematographer" and "director of photography" are interchangeable terms.

Responsibilities[link]

In the English system, the director of photography is called the lighting cameraperson, and has responsibilities that differ from those of the camera operator to the point that the lighting cameraperson is consulted, but has no final say over more purely camera operating-based visual elements such as framing. This system means that the director consults the lighting cameraperson for lighting and filtration and the operator for framing and lens choices. The lighting cameraperson is responsible for lighting the set, and the visual look of the film. The term DP or DOP is now widely used in the UK. "DOP" is used as an acronym to describe the director of photography, in Canada and equally in UK.

In the American system, however, the rest of the camera department is subordinate to the DP, who, along with and next to the director, has the final word on all decisions related to both lighting and framing.

The cinematographer selects the film stock, lens, filters, etc., to realize the scene in accordance with the intentions of the director. Relations between the cinematographer and director vary; in some instances the director will allow the cinematographer complete independence; in others, the director allows little to none, even going so far as to specify exact camera placement and lens selection. Such a level of involvement is not common once the director and cinematographer have become comfortable with each other, the director will typically convey to the cinematographer what is wanted from a scene visually, and allow the cinematographer latitude in achieving that effect.

Many American cinematographers have gone on to become directors themselves: Barry Sonnenfeld, originally the Coen brothers' DP, has gone on to have success as a director; Jan de Bont, cinematographer on films as Die Hard and Basic Instinct went on to direct Speed and Twister.

Societies and trade organizations[link]

An elite group of American cinematographers are members of the American Society of Cinematographers, or A.S.C.; this organization represents the upper echelon of talent and is dedicated to the advancement of cinematography. Membership is by invitation only. Equivalents in other countries include the Canadian Society of Cinematographers (C.S.C.), the British Society of Cinematographers (B.S.C.) and the Australian Cinematographers Society (A.C.S.) Members of these organizations are entitled to put designatory letters after their names (e.g., M. David Mullen, ASC).^{[citation needed]}

Noted cinematographers[link]

See Category:Cinematographers and Academy Award for Best Cinematography

See also[link]

• Camerimage
• Cinematography
• Filmmaking
• Indian cinematographers
• List of film formats
• List of motion picture-related topics

References[link]

External links[link]

• Cinematography.com
• Cinematography Mailing List (CML)
• International Cinematographers Guild
• Burns, Paul The History of the Discovery of Cinematography
• Indian Society of Cinematographers
• American Society of Cinematographers
• The Guild of British Camera Technicians
• British Society of Cinematographers
• European Federation of Cinematographers
• Australian Cinematographers Society (ACS)

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (January 2011)

Roger Deakins
Roger Deakins at the 83rd Academy Awards.
Born	Roger Antony[citation needed] Deakins (1949-05-24) 24 May 1949 (age 63) Torquay, Devon, England
Occupation	cinematographer
Years active	1986–present
Employer	Often works with the Coen brothers, Sam Mendes
Known for	Barton Fink The Hudsucker Proxy The Shawshank Redemption Fargo The Big Lebowski O Brother, Where Art Thou? The Man Who Wasn't There A Beautiful Mind Intolerable Cruelty The Ladykillers Jarhead No Country for Old Men Revolutionary Road A Serious Man True Grit Skyfall
Spouse	Isabella James Purefoy Ellis[1] (1991–present)

Roger Antony Deakins, ASC, BSC (born 24 May 1949) is an English cinematographer best known for his work on the films of the Coen brothers and Sam Mendes. Deakins is a member of both the American and British Society of Cinematographers. He received the 2011 American Society of Cinematographers (ASC) Lifetime Achievement Award.^[2]

Early years[link]

Deakins was born in Torquay, Devon, England, the son of Josephine (née Messum), an actress, and William Albert Deakins, a builder.^[1] He attended Torquay Boys' Grammar School. While growing up in Torquay as a young adolescent, Deakins spent most of his time in and out of school focusing on his primary interest: painting. Several years later, he enrolled in the Bath School of Art and Design (in the city of Bath) where he studied graphic design. While studying in Bath, he discovered his love of still photography. As it turned out, he was a very talented photographer, and this led him to be hired to create a photographic documentary of his hometown, Torquay. About a year or so later, Deakins transferred to the National Film and Television School in England.

Career[link]

Documentaries[link]

Shortly after graduating, Deakins found work as a cameraman, assisting in the production of documentaries in various locations abroad for approximately seven years. During this seven year stint, his first project involved a nine month trip as one of the entrants of a ‘round-the-world yacht race called, Around the World With Ridgeway. This project captured the lives and growing tensions between several of the yacht's crewmen. Deakins received high praise for his work out at sea showing the parallels between these teammates and shipmates. After completing Around the World With Ridgeway, Deakins was immediately hired by television studios to film several documentaries in Africa. His first, Zimbabwe, was a powerful and informative depiction of the genocide that had been going on there, following Zimbabwe's devastating civil war. His second African documentary, Eritrea – Behind Enemy Lines, was another depiction of conflict, this time within the borders of Sudan, Ethiopia and Djibouti.

From the time of his work in Africa until the early 1980s, Deakins continued his cinematographic and directorial work in documentaries as well as the burgeoning field of music videos. His early work as both a director and cinematographer of music videos included Carl Perkins’ Blue Suede Shoes, and the concert film, Van Morrison in Ireland. Subsequently, he worked on Towers of Babel, Sid and Nancy, The Kitchen Toto, and Pascali's Island.

Feature films[link]

Deakins’ first feature film in America as a cinematographer was Mountains of the Moon (1990). He began his collaboration with the Coen brothers in 1991 on the film Barton Fink (the director Barry Sonnenfield worked as cinematographer on the Coen Brothers' previous three films Blood Simple, Raising Arizona, and Millers Crossing). Since then, Deakins has been the Coens’ main cinematic collaborator and has been their principal cinematographer.

Deakins received his first major award from the American Society of Cinematographers for his outstanding achievement in cinematography for the internationally praised major motion picture, The Shawshank Redemption. The ASC continued to honour Deakins with outstanding achievement nominations for his later works, including Fargo, Kundun, O Brother, Where Art Thou?, and The Man Who Wasn't There, for which he won his second ASC Award. In 2008, Deakins became the first cinematographer in history to receive dual ASC nominations for his works, The Assassination of Jesse James by the Coward Robert Ford and No Country for Old Men. The latter won the BAFTA Award for Best Cinematography and he received Academy Award nominations for both films. In 2009, he was double-nominated for the ASC Award again for Revolutionary Road and The Reader (with Chris Menges).^[3] Deakins also worked as one of the visual consultants for the Pixar animated feature WALL-E and How to Train Your Dragon from DreamWorks Animation.

Deakins has received nine nominations for an Academy Award for Best Cinematography.

Personal life[link]

Deakins married script supervisor Isabella James Purefoy Ellis, professionally known as James Ellis, on 11 December 1991. His primary hobby is taking still photographs.^{[citation needed]} Before he entered the National Film School, he spent a year in North Devon, England, documenting the way of life on the farms and in the villages. This cemented his passion for still photography that continues to this day. On the rare days that he is not in his boat while in Devon, he enjoys traveling to various places to augment his growing series of images.

Filmography[link]

Awards and nominations[link]

Academy Awards

• 1994: The Shawshank Redemption (lost to John Toll, Legends of the Fall)
• 1996: Fargo (lost to John Seale, The English Patient)
• 1997: Kundun (lost to Russell Carpenter, Titanic)
• 2000: O Brother, Where Art Thou? (lost to Peter Pau, Crouching Tiger, Hidden Dragon)
• 2001: The Man Who Wasn't There (lost to Andrew Lesnie, The Lord of the Rings: The Fellowship of the Ring)
• 2007: The Assassination of Jesse James by the Coward Robert Ford (lost to Robert Elswit, There Will Be Blood)
• 2007: No Country for Old Men (lost to Robert Elswit, There Will Be Blood)
• 2008: The Reader (lost to Anthony Dod Mantle, Slumdog Millionaire)
• 2010: True Grit (lost to Wally Pfister, Inception)

American Society of Cinematographers (ASC)

• 1994: The Shawshank Redemption (won)
• 1996: Fargo (nominated)
• 1997: Kundun (nominated)
• 2000: O Brother, Where Art Thou? (nominated)
• 2001: The Man Who Wasn't There (won)
• 2007: The Assassination of Jesse James by the Coward Robert Ford (nominated)
• 2007: No Country for Old Men (nominated)
• 2008: The Reader (nominated)
• 2008: Revolutionary Road (nominated)
• 2010: True Grit (nominated)

BAFTA Awards

• 1996: Fargo (lost to John Seale, The English Patient)
• 2000: O Brother, Where Art Thou? (lost to John Mathieson, Gladiator)
• 2001: The Man Who Wasn't There (won)
• 2007: No Country for Old Men (won)
• 2010: True Grit (won)

References[link]

External links[link]

• Video interview with Roger Deakins, FILMdetail
• Roger Deakins at the Internet Movie Database
• Filmed interview with Roger Deakins on The Reel Show
• I just had to pinch myself, interview with Roger Deakins on ITV Local Westcountry
• Information on Roger Deakins at the International Cinematographers Guild
• An interview with Roger Deakins from InDigest Magazine

Christopher Doyle
Christopher Doyle in 2005
Chinese name	杜可風 (Traditional)
Chinese name	杜可风 (Simplified)
Pinyin	Dù Kěfēng (Mandarin)
Jyutping	Dou6 Ho2 Fung1 (Cantonese)
Born	(1952-05-02) 2 May 1952 (age 60) Sydney, Australia
Occupation	cinematographer, actor, photographer, and film director
Years active	1978-present (photographer); 1983-present (cinematographer)
Awards Hong Kong Film Awards Best Cinematography 1986 Soul 1991 Days of Being Wild 1994 Ashes of Time 1995 Fallen Angels 2002 Hero 2004 2046 Golden Bauhinia Awards Best Cinematography 1995 Fallen Angels 2000 In the Mood for Love 2002 Hero Golden Horse Awards Best Cinematography 1994 Ashes of Time 1997 Happy Together 2000 In the Mood for Love 2002 Three Other awards NYFCC Award of Best Cinematography 2000 In the Mood for Love 2003 Hero 2004 2046 Golden Osella for Best Cinematography 1994 Ashes of Time Technical Grand Prize (Cannes Film Festival) 2000 In the Mood for Love

Christopher Doyle (traditional Chinese: 杜可風; simplified Chinese: 杜可风; pinyin: Dù Kěfēng; born 2 May 1952) is a cinematographer. He has won the AFI Award for cinematography, the Cannes Technical Grand Prize, Golden Osella, the Golden Horse awards (four times), and Hong Kong Film Award (six times). Doyle is an affiliate of the Hong Kong Society of Cinematographers.

Biography[link]

Doyle was born in Sydney, Australia in 1952. In the late 1970s, he went to Taiwan from Hong Kong and then settled in Taipei. While living in Taipei, he studied Mandarin Chinese at the Taipei Language Institute. He worked as an oil driller in India, a cow herder in Israel, and a doctor of Chinese medicine in Thailand. In 1978, he worked as a photographer for the Cloud Gate Dance Theatre and Zuni Icosahedron. In 1983, he was a cinematographer for That Day, On the Beach, the feature debut of director Edward Yang. For that film, Doyle won the Best Cinematography Award in the 1983 Asia-Pacific Film Festival.

He has worked with major Chinese directors such as Zhang Yimou, Zhang Yuan and, most notably, Wong Kar-wai, for whom he contributed, wholly or partially, to the cinematography of all his movies from Days of Being Wild through to 2046.

He himself has directed a feature film, Away with Words (aka Kujaku, aka San tiao ren) set in Hong Kong and Okinawa, starring Tadanobu Asano and Mavis Hee, as well as a segment “Porte de Choisy” in the feature film Paris, je t’aime.^[1] Doyle is also a photographer.

While his Australian accent is still discernible when he speaks English, he does so with unusual intonations and stops, the result of speaking Cantonese and Mandarin, in which he is fluent, for most of his adult life. He also speaks fluent French. He lives in Hong Kong and his Chinese name is Du Ke Feng which means ‘like the wind.’^[2]

His music video credits include Six Days for DJ Shadow (directed by Wong Kar-wai), The Strokes’ Juicebox (directed by Michael Palmieri), Getaway by the Scottish group Texas (directed by Tim Royes) and Sigur Rós’ Gobbledigook (directed by Stefán Árni Þorgeirsson and Sigurður Kjartansson).

Filmography as cinematographer[link]

Feature films[link]

• That Day, on the Beach (1983) — directed by Edward Yang
• Soul (1986) — directed by Kei Shu
• Noir et blanc (1986) — directed by Claire Devers
• My Heart Is That Eternal Rose (1987) — directed by Patrick Tam
• Her Beautiful Life Lies (1989) — directed by Tony Au
• Days of Being Wild (1991) — directed by Wong Kar-wai
• The Peach Blossom Land (1992) — directed by Stan Lai
• Mary from Beijing aka “Awakening” (1992) — directed by Sylvia Chang
• Red Rose White Rose (1994) — directed by Stanley Kwan
• Ashes of Time (1994) — directed by Wong Kar-wai, awarded the Osella d’Oro for Best Cinematography at the Venice International Film Festival
• The Red Lotus Society (1994) — directed by Stan Lai
• Chungking Express (1994) — directed by Wong Kar-wai
• The Peony Pavilion (1995) — directed by Chen Kuo-fu
• Fallen Angels (1995) — directed by Wong Kar-wai
• 4 Faces of Eve (1996) — directed by Kwok-Leung Gan, Eric Kot and Jan Lamb
• Yang ± Yin: Gender in Chinese Cinema (1996) — directed by Stanley Kwan
• Temptress Moon (1996) — directed by Chen Kaige
• First Love: The Litter on the Breeze (1997) — directed by Eric Kot
• Motel Cactus (1997) — directed by Ki-Yong Park
• Happy Together (1997) — directed by Wong Kar-wai
• Psycho (1998) — remake, directed by Gus Van Sant
• Liberty Heights (1999) — directed by Barry Levinson
• Away with Words (1999)
• In the Mood for Love (2000) — directed by Wong Kar-wai, awarded the Grand Technical Prize at the Cannes Film Festival, as well as Best Cinematography Awards by the New York Film Critics Circle and the National Society of Film Critics
• Made (2001) — directed by Jon Favreau
• Hero (2002) — directed by Zhang Yimou, awarded Best Cinematography Awards by the New York and Chicago Film Critics Circles and the National Society of Film Critics and at the Hong Kong Film Awards
• The Quiet American (2002) — directed by Phillip Noyce
• Rabbit-Proof Fence (2002) — directed by Phillip Noyce
• Green Tea (2003) — directed by Zhang Yuan
• Last Life in the Universe (2003) — directed by Pen-Ek Ratanaruang
• 2046 (2004) — directed by Wong Kar-wai, awarded Best Cinematography Awards by the New York Film Critics Circle and the National Society of Film Critics
• Perhaps Love (2005) — directed by Peter Chan
• The White Countess (2005) — directed by James Ivory
• McDull, the Alumni (2006) — directed by Samson Chiu
• Dumplings (2006) — directed by Fruit Chan
• Invisible Waves (2006) — directed by Pen-Ek Ratanaruang
• Lady in the Water (2006) — directed by M. Night Shyamalan
• Paranoid Park (2007) — directed by Gus Van Sant
• Downloading Nancy (2008) — directed by Johan Renck
• The Limits of Control (2009) — directed by Jim Jarmusch
• Ondine (2009) — directed by Neil Jordan
• Ocean Heaven (2010) — directed by Xue Xiao-Lu
• Passion Play (2010) - directed by Mitch Glazer
• Love for Life (2011) - directed by Gu Changwei
• Underwater Love - A Pink Musical (2011) — directed by Shinji Imaoka
• Tormented (2011) — directed by Takashi Shimizu

Short films[link]

• wkw/tk/1996@7′55″hk.net (1996) — directed by Wong Kar-wai
• Six Days (2002) — directed by Wong Kar-wai
• Three (2002) — segment “Going Home,” directed by Peter Chan
• Eros (2004) — segment “The Hand,” directed by Wong Kar-wai
• Three… Extremes (2004) — segment “Dumplings,” directed by Fruit Chan
• The Madness of the Dance (2006) — directed by Carol Morley
• Meeting Helen (2007) — directed by Emily Woof

Filmography as director[link]

Feature films[link]

• Away with Words (1999)
• Izolator aka “Warsaw Dark” (2008) — cinematography by Rain Li

Short films[link]

• Paris, je t’aime (2006) — segment “Porte de Choisy,” cinematography by Rain Li

Bibliography[link]

• Angel Talk (1996) — Behind the scenes photo book covering Fallen Angels — ISBN 978-4-7952-8069-4
• Backlit by the Moon (1996) — Japanese photography monograph — ISBN 978-4-947648-39-6
• Photographs of Tamaki Ogawa (1996) — Japanese photography monograph — ISBN 978-4-947599-45-2
• Doyle on Doyle (1997) — Japanese photography monograph — ISBN 4-9900557-1-3
• Buenos Aires (1997) — Behind the scenes photo book covering Happy Together — ISBN 978-4-7952-8066-3
• Don’t Cry for Me, Argentina (1997) — Photographic journal account of filming Happy Together — ISBN 962-8114-24-7
• A Cloud in Trousers (1998) — Gallery exhibition monograph — ISBN 978-1-889195-33-9
• There Is a Crack in Everything (2003) — Photography monograph
• R34g38b25 (2004) — Behind the scenes photo book covering Hero — ISBN 978-962-86177-0-8

See also[link]

• Cinema of Hong Kong

References[link]

External links[link]

• “The Legend of Drunken Master,” Dennis Lim of The Village Voice interviews Christopher Doyle, 6 August 2004.
• ‘If you call me, you know what you’re in for,’ The Guardian’s Steve Rose interviews Christopher Doyle, 7 January 2005.
• Part 1, Part 2 and Part 3, interview with Christopher Doyle in three parts by Andreas Pousette, February 2005.
• ‘His eyes have seen the glory…,’ The Guardian’s Gaby Wood interviews Christopher Doyle, 17 July 2005.
• Video: Christopher Doyle talks about Hong Kong for CNN and Nokia’s feature series “The Scene.”
• Text of CNN interview with Christopher Doyle.

Walter "Wally" Pfister (born July 8, 1961) is an Academy Award-winning American cinematographer and director, who is best known for his work on Christopher Nolan's films, including Memento, Insomnia, Batman Begins, The Prestige, The Dark Knight, and Inception. Pfister is also known for his work on director F. Gary Gray's The Italian Job and Bennett Miller's Moneyball. Pfister is currently making his directorial debut on an untitled project through Alcon Entertainment.

Early life[link]

Born in Chicago and raised in New York City,^[1] Pfister’s grandfather was the city editor of a newspaper in Wisconsin. His father, also known as Wally, was a TV news producer, who began his career with CBS-TV in Chicago in 1955. Later, as an executive at ABC News, the elder Pfister worked with David Brinkley and Peter Jennings, covering political conventions, space flights and the civil rights movement.

When Pfister was about 11, a film company shot scenes for Shamus (1973), featuring Burt Reynolds, in his neighborhood. The boy was fascinated by the crew setting up lights and cameras. Soon afterwards, he began shooting 8 mm home movies and short films. Pfister also emulated his father by shooting slides on Kodachrome film and assembling them into little shows for family and friends.

Career[link]

After high school, Pfister found a job as a production assistant at a television station, WMDT-TV, in Salisbury, Maryland. Within a couple of months, he borrowed a CP16 news camera and began shooting little films on weekends, including a visual essay about a Victorian house. “I did these slow, little intricate moves around the architecture of the house,” he recalls, “cut it together with music, and showed it to the production manager. They made me a cameraman. I shot very low budget PSAs for $125 a week.”

Within a few months, Pfister found a job as a cameraman for a Washington news service, which provided film for TV stations around the country. He covered the United States Congress, the White House and breaking news from 1982 through 1985. In 1985 Pfister began a freelance career shooting documentaries for the PBS series "Frontline" and industrial videos for various Washington production companies.

In 1988, Robert Altman came to Washington to direct a mini-series for HBO called Tanner '88 (1988). Altman was looking for a real news cameraman to play that role in his show. They hired Pfister and asked him to also shoot some B-roll. When the producers saw his work, they brought Pfister on the show as the second unit cameraman. It was the first time he was exposed to acting and dramatic material.

After that experience, Pfister enrolled at the American Film Institute. During his second year, he collaborated with his fellow classmates on a short film called "Senzeni Na?", which was nominated for an Academy Award for Best Live Action Short Film in 1991. The film told the story of a man caught up in the apartheid struggle. Pfister drew on his documentary experience, and lit it darkly and stark, using a single light so the actor could play in and out of that source.

Janusz Kamiński had just graduated from AFI, and met Pfister that year. He saw Pfister’s film and recruited him as a grip and electrician for various projects, including a few with Phedon Papamichael.

Roger Corman gave Pfister an opportunity to shoot pickup shots and inserts for a Papamichael film. It was the first time he shot 35 mm film. After that, Pfister handled second unit for Papamichael on Body Chemistry and also on other Corman films.

Pfister shot The Unborn, his first feature, in 1991. After that, he filmed an array of horror movies, typically on 15-day schedules.

In 1995, Papamichael asked Pfister to operate for him on Diane Keaton’s Unstrung Heroes (1995).

Work with Christopher Nolan[link]

In 1998, Pfister shot The Hi-Line in Montana in the dead of winter on a $300,000 budget. It got into the competition at Sundance Film Festival. There, he met Nolan, who also had a film at Sundance.

Pfister's first collaboration with Nolan was on the neo-noir thriller Memento (2000). The success of this collaboration resulted in Pfister taking over as director of photography for Nolan's subsequent films: Insomnia (2002), Batman Begins (2005), The Prestige (2006), The Dark Knight (2008), which he partially shot with IMAX cameras, and Inception, which was shot partially in 5-perf 65 mm.

Pfister stated that he has "turned down Harry Potter films to work with Chris."

As of 2010, Pfister has served as cinematographer for all of Christopher Nolan's films except for Following (1998), for which Nolan acted as cinematographer himself.

Pfister has been nominated for an Academy Award for Best Cinematography four times, each time for a film directed by Nolan. He won an Academy Award for his work on Inception at the 83rd Academy Awards.

He also has been nominated three times for the American Society of Cinematographers Award for Outstanding Achievement in Cinematography in Theatrical Releases, for Batman Begins, The Dark Knight and Inception, winning for the latter, in 2011.

Personal life[link]

Wally is married to Anna Julien (1992–present) and has three children: Nick (19), Claire (17), and Mia (7).

Filmography[link]

• The Granny (1995)
• Memento (2000)
• Rustin (2001)
• Scotland, PA (2001)
• Insomnia (2002)
• Laurel Canyon (2002)
• The Italian Job (2003)
• Batman Begins (2005)
• Slow Burn (2005)
• The Prestige (2006)
• The Dark Knight (2008)
• Inception (2010)
• Moneyball (2011)
• Marley (2012)
• The Dark Knight Rises (2012)

Awards and nominations[link]

Academy Award for Best Cinematography

• 2005: Batman Begins (Nominated)
• 2006: The Prestige (Nominated)
• 2008: The Dark Knight (Nominated)
• 2010: Inception (Won)

American Society of Cinematographers Award for Outstanding Achievement in Cinematography in Theatrical Releases

• 2005: Batman Begins (Nominated)
• 2008: The Dark Knight (Nominated)
• 2010: Inception (Won)

BAFTA Award for Best Cinematography

• 2008: The Dark Knight (Nominated)
• 2010: Inception (Nominated)

Broadcast Film Critics Association Award for Best Cinematography

• 2010: Inception (Won)

Independent Spirit Award for Best Cinematography

• 2001: Memento (Nominated)

References[link]

External links[link]

• A Conversation with Wally Pfister
• Wally Pfister at the Internet Movie Database

Jason Hernandez (born August 26, 1983 in New York, New York) is an American soccer player who currently plays for San Jose Earthquakes in Major League Soccer.

Career[link]

College[link]

Hernandez played college soccer at Seton Hall University from 2001 to 2004, and captained the team in his final two seasons.

Professional[link]

Hernandez was selected by the MetroStars in the first round of the 2005 MLS Supplemental Draft and signed a developmental contract with the team for the 2005 season. After not playing a minute in the club's first 29 league games, he started the last three of the regular season, as well as both games in the playoffs. Hernandez was traded to Chivas USA in a trade that allowed the MetroStars to move up to the #1 selection of the 2006 MLS SuperDraft and select Marvell Wynne.

In his initial campaign with Chivas, Hernandez went on to appear in 29 league matches, including 24 starts. During the 2007 season Hernandez saw his role reduced as he appeared in 21 league matches, starting only nine. He started three of the clubs four playoff matches during his two-year stint at the Los Angeles based club.

Hernandez was picked up by the San Jose Earthquakes in the 2007 MLS Expansion Draft.

International[link]

On 6 January 2009 Jason was called into the U.S. Men's National Team's January training camp. He joined Colorado Rapids (MLS) defender Ugo Ihemelu as replacements for Clarence Goodson and Cory Gibbs who left camp early,^[1] but he ultimately did not feature in the game.

See also[link]

• List of famous Puerto Ricans
• List of current MLS players

References[link]

External links[link]

• MLS player profile