Richard Bradbury

Commercial photographer Richard Bradbury gives a lesson in how to get ahead in advertising

Words Gavin Stoker pictures Richard Bradbury

To make it in the fiercely competitive arena of commercial photography, your work must not only be technically flawless but also have that instantly appealing extra element that will make it stand out.
Photographer Richard Bradbury’s images have that memorable quality. Known for his portrayal of digitally-captured, Photoshop-enhanced characters, his composite shots have graced adverts for clients including Dell computers, Mars, PlayStation, Branston and Pizza Hut, while their cartoon-ish, larger-than-life elements have also prompted shoots of sexily pneumatic models for covers and editorial spreads in Bizarre and Maxim magazines.

You seem to be very in demand at the moment. What are you currently working on?

Because of the pronounced change brought about by digital photography – I’m shooting on the Canon EOS 1Ds Mark II – I’ve recently done a lot of work for online gambling companies. That tells you where the business is going; these clients didn’t even exist a couple of years ago. I’m using the digital camera to shoot mini movies in stills form for the headline banners that come to life when you move your mouse over them. It’s interesting in that you have to shoot quite a simple image that you know will work in that medium, and obviously don’t need high-end kit to do it. I wouldn’t say online advertising is a major part of my business plan but it’s definitely getting bigger, and I predict direct advertising via mobile phones is going to be the next boom.

That leads me to ask what else is part of your current business plan?

I’ve just shot a nice campaign for Dell computers, which, as far as I know, is the first occasion they’ve used people in their advertising, for a much more personal feel. The camera represents the computer screen, so we’re looking out at the user and getting their facial expressions as they’re reacting to the service they’re getting from Dell. The characters themselves have moved closer to real life – you can’t really get away with shooting Carry On characters any more, but people still want to see something interesting and quirky.

Correct casting must be hugely important for you.

Very much so. An image that works is a combination of casting, styling and the handling of the model. What I mean by that is a lot of my previous work involved making the people look like they were in a cartoon, by taking an outfit worn by someone and turning the colours up. I’m finding there’s less and less call for that. The challenge now is that people are coming to me because they still want my colours and characterisations, but they don’t want these people to look unreal.
At castings I sit back and let my assistants talk to the models because the process can distract you from putting yourself in a potential viewer’s position. By doing that I get a much more effective casting.
A very interesting job I’ve just done is shooting for the Guinness Book of Records. They wanted to have more control over the major images represented in the book. So the picture editor and I did a two-week road trip to Canada and the States to photograph record holders. We covered everything from the smallest horse in the world to the man who had crashed the most cars. We got some amazing images, and although
I was shooting real-life people, the client wanted me to turn the volume up on it.
n Was that visual ‘punch’ achieved in-camera or via post-production?
Both really, but largely within the initial photography, which was quite a challenge as we were arriving at a location without much pre-planning. We then had to create a memorable image out of nothing, which can be difficult if you’re in a nondescript shopping mall outside San Francisco.

That must have been a real challenge, given that most of your widely known images are shot in a studio in a very staged fashion.

To be honest I have always done location work, although I’d agree I’m known for my studio work. I now prefer to work on location because I feel as though I’ve ‘done’ the studio thing. It helps to have new flavours and ways of looking at things. There’s nothing I enjoy more now than turning up on location and finding something I didn’t expect to see that sparks off new ideas. I did have a studio before, but felt that was stifling my choice of jobs because I needed to fill it. I now hire studios, such as Jasmine in Shepherds Bush or The Works in Parsons Green, when I need one.