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Henry Braham
Henry Braham
Henry Braham
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Henry Braham BSC (born 30 October 1965) is an English cinematographer and commercial director.

Key Information

Life and career

[edit]

Braham’s cinematographic career began in 1989 with the British band The KLF working on their 1991 road movie, The White Room. He won an Emmy Award for Outstanding Cinematography for a Limited Series for his work on the miniseries Shackleton.

Known for implementing warm lighting, a very stylized color grading, and sometimes applying fisheye lens, Braham works mostly in big-budget films with a heavy focus on visual effects, especially in films directed by James Gunn.

He has also directed several commercials.[1] In 2013, Braham has also designed the lighting for the sellout exhibition, “Hats: An Anthology by Stephen Jones” for the Victoria and Albert Museum.[2]

Braham is a member of the British Society of Cinematographers[3] and is also the co-founder of the Good Hemp Food brand with Glynis Murray.[4]

Filmography

[edit]

Film

[edit]
Year Title Director Notes
1992 Soft Top Hard Shoulder Stefan Schwartz
1997 Roseanna's Grave Paul Weiland
Shooting Fish Stefan Schwartz
1998 The Land Girls David Leland
Waking Ned Kirk Jones
2001 The Invisible Circus Adam Brooks
Crush John McKay
2003 Bright Young Things Stephen Fry
2005 Nanny McPhee Kirk Jones
2006 Flyboys Tony Bill
2007 The Golden Compass Chris Weitz
2009 Everybody's Fine Kirk Jones
2016 The Legend of Tarzan David Yates
2017 Guardians of the Galaxy Vol. 2 James Gunn 1st collaboration with Gunn
2019 Georgetown Christoph Waltz
Maleficent: Mistress of Evil Joachim Rønning
2021 The Suicide Squad James Gunn
Cinderella Kay Cannon
2023 Guardians of the Galaxy Vol. 3 James Gunn
The Flash Andy Muschietti
2024 Road House Doug Liman
The Instigators
2025 Superman James Gunn

Television

[edit]
Year Title Director Notes
1996 Giving Tongue Stefan Schwartz TV movie
1998 The Comic Strip Presents... Peter Richardson Episode "Four Men in a Car"
2002 Shackleton Charles Sturridge Miniseries
2009 10 Minute Tales Neil Gaiman Episode "Statuesque"
2015 The Bastard Executioner Paris Barclay Episode "Pilot" (Part 1 & 2)
2022 The Guardians of the Galaxy Holiday Special James Gunn TV special

Awards and nominations

[edit]
Award Year Category Title Result
British Academy Television Craft Award 2003 Best Photography & Lighting: Fiction Shackleton Nominated
Primetime Emmy Awards 2002 Outstanding Cinematography for a Limited Series Won
Satellite Awards 2007 Best Cinematography The Golden Compass Nominated

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Henry Braham

View on Grokipedia
from Grokipedia
Henry Braham (born 30 October 1965) is an English cinematographer renowned for his dynamic visual style in major blockbuster films, particularly within the superhero and fantasy genres. A member of the British Society of Cinematographers (BSC), Braham has collaborated extensively with director James Gunn on projects including The Suicide Squad (2021), Guardians of the Galaxy Vol. 2 (2017), and Guardians of the Galaxy Vol. 3 (2023), earning acclaim for blending practical effects with innovative digital techniques to create immersive, character-driven narratives. Braham's career spans over three decades, beginning in the early with contributions to independent British films and music videos before transitioning to high-profile Hollywood productions. His early work includes on fantastical family films such as Nanny McPhee (2005) and The Golden Compass (2007), where he explored magical realism by integrating practical sets and locations to ground extraordinary elements in relatable environments. By the , Braham pioneered the use of high-resolution digital cameras, shooting one of the first major digital features in 2005 and later employing RED Monstro 8K VistaVision sensors for flexibility in action sequences. In recent years, Braham has elevated his profile through visually striking superhero films, including The Flash (2023) and (2025), the latter of which he described as emphasizing "humanity and hope" through grounded, handheld yet stabilized shots captured on Panavised RED V-Raptor [X] cameras. His approach prioritizes small, agile camera packages—often with Leitz M 0.8 lenses—to enable intimate, fluid movements that enhance storytelling, as seen in the aerial action of 's flying sequences, where he personally operated cameras on wires and cranes alongside actors. Braham's techniques, influenced by his background in , continue to push boundaries in large-scale productions while maintaining a focus on emotional authenticity.

Personal life

Family and residence

Henry Braham was born on October 30, 1965, in , , making him 60 years old as of 2025. Braham shares a long-term with Glynis Murray, a film and television producer, with whom he has co-founded the company Good Hemp Food; the couple has four children and has built a shared life centered on their rural property. The couple resides at Collabear Farm in Tawstock, near in , England, which they purchased in 1996; there, they cultivate industrial crops as part of their agricultural and activities.

Business ventures

In 1998, Henry Braham co-founded Good Hemp Food with his partner Glynis Murray on their Collabear Farm in , , initially focusing on industrial cultivation for fiber uses such as and automotive parts. While farming, they discovered the nutritional value of seeds, including their high content of essential fatty acids and proteins, and noted the nutty taste of the oil extracted from them, prompting a shift toward food production. The company's first product, cold-pressed seed oil marketed as Good Oil, launched in the UK retail market in 2004, marking the beginning of their efforts to promote as a sustainable despite widespread skepticism about its viability in the . Over the following years, Good Hemp Food expanded its product line to include , protein powders, and additional oils, all derived from seeds grown on their farm, emphasizing plant-based nutrition and environmental sustainability. The brand gained traction by supplying products to prominent chefs, such as , and building custom machinery on-site to process into consumer-ready formats, overcoming early challenges like development and crop variability. Braham played a key role in by drawing on his connections from the film industry to raise awareness of hemp's health benefits and promote its adoption as an alternative to dairy and other animal-based foods. In 2014, the company received its first investment from Inverleith LLP, followed by a majority stake sale to the firm in 2018, allowing Braham and Murray to retain operational involvement while scaling production. As of 2025, Good Hemp Food continues to operate as a UK-based , with ongoing product innovation including a 2023 expansion into plant-based dairy alternatives like ice creams and cream cheeses, all while advocating for 's role in reducing food-related carbon emissions through sustainable farming practices. The company maintains its commitment to zero-waste goals and traceable sourcing, shipping products internationally and positioning as a cornerstone of eco-friendly nutrition.

Career

Early work

Henry Braham's cinematographic career began in 1989 when he collaborated with the British band on their experimental road movie-style music film The White Room, released in 1991, which involved shooting an ambient journey across with extensive . Throughout the , Braham focused primarily on , commercials, and short-form content, where he honed his technical expertise in lighting and camera operation, often working within the fast-paced environments of the music and advertising industries. Braham joined the (BSC) in 1998, a milestone that provided professional validation and networking opportunities as he navigated the challenges of sustaining freelance work amid limited resources before achieving broader recognition in feature films.

Cinematographic style

Henry Braham's cinematographic style emphasizes intimacy and immediacy, achieved through flexible camera movements and compact setups that prioritize over technical ostentation. His elements include the use of wide-angle lenses positioned close to subjects to create dynamic perspectives and depth, often employing Leitz M 0.8 lenses for their distinctive and resolution, which enhance emotional engagement without distortion. Braham favors stylized to underscore narrative tones, as seen in his collaboration with colorist Stefan Sonnenfeld, where grading maintains visual consistency while amplifying human elements within fantastical settings. He integrates warm lighting palettes selectively to evoke emotional depth, balancing them against cooler tones for grounded realism in narratives. Rooted in classic cinematography, Braham's approach draws from early film history, including the limitations and innovations of small cameras in pre-digital eras, such as those used in 1970s films like and The French Connection. He incorporates intuitive movement techniques inspired by historical tools like , wires, and cranes to achieve fluid, actor-centric shots that mimic natural motion, evolving these methods for modern action sequences. Influences from mid-20th-century further inform his preference for wider lenses brought closer to the action, allowing exaggerated spatial dynamics while preserving compositional freedom. Technically, Braham selects cameras like the ARRI Alexa LF and Mini LF for projects requiring large-format precision, such as The Flash, paired with ARRI Signature Prime lenses to capture high-dynamic-range details in complex VFX environments. For other works, he opts for V-Raptor systems to enable agile, high-resolution shooting on practical sets, emphasizing real locations and effects over extensive CGI to maintain authenticity in action choreography. This preference for practical elements allows seamless integration with VFX, avoiding the constraints of green screen-heavy workflows. Braham's style has evolved from the naturalistic lighting of his early television work, such as the Arctic-inspired exteriors in Shackleton, to bolder, comic-book-inspired visuals in films that blend with character intimacy. In a 2025 interview, he discussed adapting his aesthetic to directors' visions, noting for Superman, "The storytelling informs the look of the movie… very structured and prepared and on the other hand intuitive," highlighting his balance of pre-visualization with on-set improvisation. This evolution reflects a consistent : "Nobody sitting in the cinema cares how big the camera is. They care about how you tell the story." His techniques briefly meshed with James Gunn's direction in Superman to deliver a visually expressive take on the hero.

Notable collaborations

Henry Braham's most prominent professional partnership has been with director , beginning with Guardians of the Galaxy Vol. 2 in 2017 and extending through The Suicide Squad in 2021, Guardians of the Galaxy Vol. 3 in 2023, and in 2025. This series of collaborations reflects a shared vision emphasizing vibrant, colorful palettes and character-driven visuals that blend spectacle with emotional intimacy. For instance, their work often incorporates dynamic camera movements, such as fisheye lenses in the Guardians films, to heighten the sense of immediacy in ensemble action. Braham has also formed significant alliances with other directors, including on The Legend of Tarzan in 2016, where their collaboration brought a lush, immersive aesthetic to the film's African landscapes and adventure sequences. Earlier, he partnered with Kirk Jones for Everybody's Fine in 2009, contributing subtle, melancholic cinematography that underscored the road-trip drama's themes of isolation and reconnection. Additionally, Braham worked with on the fantasy epic The Golden Compass in 2007, employing expansive visuals to capture the story's otherworldly scope. These partnerships have notably elevated Braham's career trajectory, transitioning him from independent and mid-scale projects to high-stakes blockbusters, as seen in his move from films like The Legend of Tarzan to the under Gunn. Their collaborative processes often involve on-set improvisation, particularly in action scenes, where Braham's handheld operation fosters spontaneous energy and adaptability to Gunn's evolving directorial impulses. As of 2025, Braham and Gunn continue their productive alliance, with Superman marking a pinnacle of their joint exploration into expressive, grounded storytelling, and Braham confirmed in September 2025 to return for Gunn's Man of Tomorrow (2027).

Filmography

Film

Henry Braham's feature film work as cinematographer spans from independent British productions to major Hollywood blockbusters, often involving high-profile collaborations with directors like James Gunn.
YearTitleDirectorNotes
1991The White RoomThe KLF (Bill Drummond, Jimmy Cauty)Early road movie collaboration with the British band The KLF.
1992Soft Top Hard ShoulderStefan Schwartz-
1997Shooting FishStefan Schwartz-
1997Roseanna's GravePaul WeilandAlso known as For Roseanna.
1998The Land GirlsDavid Leland-
1998Waking Ned DevineKirk Jones-
2001The Invisible CircusAdam Brooks-
2001CrushJohn McKay-
2003Bright Young ThingsStephen Fry-
2005Nanny McPheeKirk Jones-
2006FlyboysTony Bill-
2007The Golden CompassChris WeitzFantasy adventure based on Philip Pullman's novel.
2009The Boat That RockedRichard CurtisAlso known as Pirate Radio.
2009Everybody's FineKirk JonesRemake of the Italian film Stanno Tutti Bene.
2016The Legend of TarzanDavid YatesAction-adventure starring Alexander Skarsgård.
2017Guardians of the Galaxy Vol. 2James GunnMarvel superhero sequel with IMAX sequences.
2019GeorgetownChristoph Waltz-
2019Maleficent: Mistress of EvilJoachim Rønning-
2021CinderellaKay CannonMusical fantasy film.
2021The Suicide SquadJames GunnDC Comics reboot shot with IMAX-certified cameras.
2023The FlashAndy MuschiettiDC superhero film.
2023Guardians of the Galaxy Vol. 3James GunnFinal Marvel installment in the trilogy, filmed for IMAX.
2024Road HouseDoug LimanAction remake.
2024The InstigatorsDoug LimanCrime comedy.
2024Super/Man: The Christopher Reeve StoryIan Bonhôte, Peter EttedguiDocumentary.
2025SupermanJames GunnDC Universe reboot shot entirely in IMAX digital format.

Television

Henry Braham's television work as a spans TV movies, series episodes, , and specials, with notable contributions to historical dramas and projects.
YearTitleNotes
1996Giving TongueTV movie; directed by Stefan Schwartz.
1998 Presents...Episode: "Four Men in a Car"; directed by Peter Richardson.
2002Shackleton (Parts I and II); directed by .
200910 Minute TalesEpisode: "Statuesque"; directed by .
20152 episodes, including "Pilot: Part 1" and "Part 2"; directed by .
2022 Holiday SpecialTV special; directed by .

Awards and nominations

Wins

Henry Braham received his first major industry accolade with the Primetime Emmy Award for Outstanding for a or Movie in 2002, specifically for his work on Part II of the A&E Shackleton. The award was presented at the ceremony on September 22, 2002, held at the Shrine Auditorium in and hosted by . Braham's cinematography captured the harrowing expedition led by , employing stark lighting and expansive compositions to evoke the isolation and endurance of the historical narrative, which aired in April 2002. This Emmy win marked a breakthrough in Braham's career, affirming his transition from earlier television and projects to high-profile prestige productions. The recognition highlighted his ability to blend dramatic realism with visual poetry, particularly in challenging outdoor sequences filmed in harsh conditions to mirror the expedition's perils. As of November 2025, this remains Braham's sole major individual award win in , underscoring its lasting significance amid numerous nominations for subsequent works. The accolade significantly elevated Braham's industry profile, opening doors to collaborations with acclaimed directors and larger-scale feature films, including his later partnerships with on Marvel projects.

Nominations

Henry Braham received a nomination for the British Academy Television Craft Award in 2003 for Best Photography and Lighting: Fiction for his work on the miniseries Shackleton, recognizing his contributions to the visual of the despite the project's separate Primetime Emmy win in the same category. In film, Braham earned a Satellite Award nomination in 2007 for Best for The Golden Compass, highlighting his ability to capture the expansive of Pullman's adaptation through intricate lighting and composition. Braham's nominations often reflect industry acknowledgment of his in ambitious adventure and fantasy projects, where his technical precision enhances narrative immersion without overshadowing the story.

References

  1. https://www.leitz-cine.com/interview/henry-braham-bsc
  2. https://www.panavision.com/highlights/highlights-detail/the-cinematography-of-superman-with-henry-braham-bsc
  3. https://britishcinematographer.co.uk/henry-braham-bsc-guardians-of-the-galaxy-vol-3/
  4. https://collider.com/the-suicide-squad-cinematographry-henry-braham-interview/
  5. https://theasc.com/articles/superman-flying-sequences-cinematography
  6. https://www.imdb.com/name/nm0103956/bio/
  7. https://www.theguardian.com/lifeandstyle/2004/nov/07/foodanddrink.features9
  8. https://www.thegrocer.co.uk/interviews/good-hemp-the-big-interview/532990.article
  9. https://www.telegraph.co.uk/women/womens-business/10193712/The-good-life-How-Glynis-Murray-brought-hemp-to-the-mainstream-UK-market.html
  10. https://www.goodhemp.com/faqs/who-owns-good-hemp/
  11. https://find-and-update.company-information.service.gov.uk/company/08575597/officers
  12. https://inverleith.com/investments/good-hemp/
  13. https://www.goodhemp.com/hemp-hub/an-interview-with-glynis-murray-hemp/
  14. https://www.the-independent.com/news/business/sme/me-and-my-partner-how-naivety-may-have-helped-one-couple-set-up-their-business-1636078.html
  15. https://www.just-food.com/news/uk-firm-good-hemp-gets-new-majority-investor/
  16. https://thepailife.paiskincare.com/blog/great-british-brand-good-hemp-food/
  17. https://www.goodhemp.com/our-mission/
  18. https://www.goodhemp.com/
  19. https://www.darkhorizons.com/superman-legacy-gets-its-cinematographer/
  20. https://www.digitaltrends.com/movies/guardians-of-the-galaxy-vol-2-cinematographer-henry-braham-interview/
  21. https://filmfreeway.com/articles/superman-cinematographer-interview/
  22. https://www.arri.com/en/learn-help/user-communities/large-format-showcase/vfx-large-format/the-flash
  23. https://variety.com/2008/film/awards/henry-braham-2-1117978318/
  24. https://www.cinematography.world/henry-braham-bsc-guardians-of-the-galaxy-vol-3/
  25. https://www.forbes.com/sites/scottmendelson/2017/05/08/interview-guardians-2-cinematographer-talks-marvel-james-gunn-and-virtual-reality/
  26. https://britishcinematographer.co.uk/henry-braham-bsc-legend-tarzan/
  27. https://variety.com/2007/film/markets-festivals/henry-braham-1117975164/
  28. https://www.threads.com/@dcuprimetv/post/DORmPDeEswr/superman-cinematographer-henry-braham-confirms-he-will-return-for-man-of-tomorro
  29. https://www.imdb.com/name/nm0103956/
  30. https://www.rottentomatoes.com/celebrity/henry_braham
  31. https://www.imdb.com/title/tt0098641/
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  33. https://www.imdb.com/title/tt0119494/
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  49. https://www.imdb.com/title/tt4218618/fullcredits/
  50. https://www.televisionacademy.com/awards/nominees-winners/2002/outstanding-cinematography-for-a-miniseries-or-movie
  51. https://variety.com/2002/tv/reviews/shackleton-1200550475/
  52. https://www.televisionacademy.com/bios/henry-braham
  53. https://www.imdb.com/name/nm0103956/awards/
  54. https://www.bafta.org/awards/tv-craft?award-year=2003
  55. https://variety.com/2007/film/awards/satellite-award-nominees-1117977011/
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