International British photographer and director Chris Craymer has joined IDENTITY for commercials representation in the U.S. and France. A prolific fashion and celebrity photographer in the U.K. and the U.S., Craymer first began extending his talents into the commercial realm by directing two successful campaigns for Dove. Additional work for Tommy Hilfiger, Billabong, Avon and Jergens soon followed. As a photographer, Craymer has collaborated with leading brands such as Neiman Marcus, Bacardi, Clarins, Target, Wal-Mart, Old Navy, Johnson & Johnson, Gap, Harrod’s, Kohl’s, Macy’s and Neutrogena, with his images appearing in top fashion, beauty and lifestyle magazines across the globe including Vogue, Vanity Fair, Esquire, Madame Figaro, Glamour and Entertainment Weekly. He has also published two books of photography, “Romance” and “In London,” which capture intimate glimpses of authentic couples and Londoners. For still photography, Craymer continues to be represented by Sarah Laird & Good Company….
Philadelphia-based production and post shop Monogram has entered into a partnership with commercial and documentary director/DP Justin Shipley. His experience include serving as a promo and motion graphics editor/shooter in Los Angeles, and a 15 year career as a director/DP shooting documentaries all over the world, with a flare for high level aviation content. From World War II history docs in Palau to anthropological research docs in Ethiopia and Central America, Shipley has told some amazing stories and encountered many technical challenges along the way. His work as a DP earned him an Emmy nomination for Cinematography in News & Documentary….
From Restoring To Hopefully Preserving Multi-Camera Categories At The Emmys
When Gary Baum, ASC won his fourth career Emmy Award earlier this month, it was especially gratifying in that the honor came in a category--Outstanding Cinematography for a Multi-Camera Half-Hour Series--that had been restored thanks in part to a grass-roots initiative among cinematographers to drum up entries. Last year the category fell by the wayside when not enough multi-camera entries materialized.
In his acceptance speech, Baum appealed to the Television Academy to keep multi-camera categories alive. He later noted to SHOOT that editors also got their multi-camera recognition back in the Emmy competition this year. Baum hopes that after resurrecting multi-camera categories in 2024, such recognition will be preserved for 2025 and beyond.
A major factor in the decline of multi-camera submissions in 2023 was the move of certain children’s and family programming from the primetime Emmy competition to the National Academy of Television Arts and Sciences’ (NATAS) Emmy ceremony. For DPs this meant that multi-camera programs last year were reduced to vying for just one primetime nomination slot in the more general Outstanding Cinematography for a Series (Half-Hour) category. It turned out that this single slot was filled in ‘23 by a Baum-lensed episode of How I Met Your Father (Hulu).
Fast forward to this year’s competition and Baum won for another installment of How I Met Your Father--”Okay Fine, It’s A Hurricane,” which turned out to be the series finale. Two of Baum’s Emmy wins over the years have been for How I Met Your Father, and there’s a certain symmetry to them. His initial win for How I Met Your Father was for the pilot in 2022. So he won Emmys for the very first and last... Read More