"I feel the average viewer confuses 'great cinematography' with pretty pictures. It's really much more than that. Actually, great cinematography is camera work that creates such a convincing visual and emotional environment that it goes un-noticed by non-professionals, much like great film music–something that is more felt than seen."

Julian's work is characterized by a naturalistic and poetic beauty, although his facility with the medium enables him to shape-shift stylistically. He considers himself "a story-teller first and foremost." This is evidenced by a nuanced and expansive palette; one that adapts elegantly to each story.

Early on Julian photographed the Sundance Film Festival official selection, How to Make the Cruelest Month, along with Greenday's enduring Time of Your Life (Good Riddance), as well as Korn's much heralded Freak on a Leash, with Jonathan Dayton and Valerie Faris. Julian went on to shoot the pilot, Earth Angels, for Bronwen Hughes, then Forty Shades of Blue for director Ira Sachs, a film that won the Sundance Film Festival Grand Jury Prize for Best Dramatic Feature. In recent years, Julian has focused on shooting commercials, and has photographed hundreds of commercials for dozens of brands including Nike, Adidas, Apple, Google, Dell, Samsung, GE, FedEx, ESPN, Chevy, Volkswagen, Honda, Dodge, Hummer, Toyota, McDonalds, Starburst, Sprite, Vitamin Water, etc.

The rigorous foundation Julian acquired during his years as a focus puller, what he views as his "apprenticeship," tells an important part of his story. "I really took that job seriously, so I got to learn from some of the great cameraman–and the directors they worked with–of the last twenty years." These include Dariusz Wolski, Jan de Bont, Robert Richardson, and John Toll, where Julian worked on such modern classics as Paul Verhoven's Basic Instinct and Richard Donner's Lethal Weapon 3. However, Julian's closest, and most enduring relationship, was with the late master Harris Savides. For three intensive years, Julian assisted Savides on dozens of commercials and music videos, culminating with additional photography for David Fincher's Seven, then principal photography on The Game.