After our presentation, I wanted to explore further into photographers that specialise in theatrical set design and props. The photographer, August Bradley creates distinctive, conceptual images with an artistic feel and a sense of drama and mystery. He works for clients ranging from designer labels and consumer brands to lifestyle magazines, as well as producing images for gallery exhibition. He was recently selected as a “Hasselblad Master” and his work has been included in the 2009 and 2008 editions of the Graphis Photo Annual featuring “The Year’s Best Photographs”.
”The series explores the notion of external constraint and the desire for freedom, and the fantasy of what freedom is from the perspective of someone without it. There are three segments to the series. The first part presents characters shut off from the outside world, but who have a longing for a connection to it. These characters are in this place because of forces beyond their control that they do not understand. The second set continues the theme of isolation and desire for a connection but the source of the detachment here comes from a calling to pursue a different path. In the third segment, the more fashion-oriented collection, the images pursue a sense of fantasy or dream of a life beyond the constraints, with the lingering notion of limitations intertwined with the fantasy of freedom.
‘The photographic style of the collection evolves from theatrical yet personalized portraits to fashion photography, so the style of the image making evolves with the theme from personal limitations to imagination and aspirational fantasy”.
I was really interested in these concepts and ideas, and wanted to share and devlop these narratives further with the group into more ideas and devlopment.
In just four years of photographing August Bradley has developed a unique visual style, and I was intrigued how this took place?
When researching, I learnt the photographer grew up in his mothers photography studio, and was her lighting assistant from an early age. He virtually lived in the darkroom in high school and part of collages. And was really obsessive about photography. Later he pursued another career, doing marketing strategy work for consumer brands such as Gap, Banana Republic, J.Crew, and others. After years of that, Bradley began migrating back to photography, and almost four years ago, became a full time professional photographer doing stylized conceptual images and fashion and portrait work.
August is influenced probably more by painters than photographers in terms of the light, the mood and colour tones. He's also influenced a great deal by architecture and interior design, as reflected by context and environment playing such a strong role in the images. He loves literary fiction and many of his themes come from that source. A great inspiration towards our group.
When creating his images I was interested in the creative process and what takes place before the actual shoot, and how many people he useally allows on set?
When researching, much of the creative process takes place before the shoot. General story outlines and concepts are developed. Colour palettes are determined, and from those concepts, the group come up with a vision for wardrobe styling and begin building sets or scout locations to fit the concept and the palette.
These are production shoots and they involve a team of talented people. Although the photographer captures the images, a team of experts across a wide range of specialties make the image. The photographer often serves the role that a director would serve on a movie set, combined with the role of the cinematographer. It is the directorial role, rather than the camerawork, that is most fundamental organizing and aligning the range of talent into a cohesive, singular vision. But the final product is only as good as the team. A great image is the result of the cumulative impact of every little thing being done well.
For fashion or conceptual shoots the team tends to be at least eight – fifteen people. That’s not including client personnel. August Bradley, does things differently with portraits, he likes to keep his teams smaller and more intimate, as there is more dialogue between the photographer and the subject, but still has an assistant to adjust lights and enable him to keep an uninterrupted dialogue. The team also involves hair, makeup, and styling. But with a portrait Bradley hates to have an army of assistants. He believes too many people on a portrait shoot gets in the way and changes the dynamic with the subject.
I'm pleased I explored this aspect, as will consider these roles and issues that occur when shooting, with fellow members of the group.
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