BUZZFEED | BLACK HISTORY MONTH

This is Soliat Bada, a Nigerian street food chef and food blogger, photographed as part of a series of portraits for Buzzfeed about Black History Month. We shot in her house in east London on a Sunday afternoon in October. 

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STEFANIE MARTINI | BRITISH ACTRESS

This is the second time I've shot press portraits for Stefanie. She's absolutely fantastic to work with on a shoot and it was so much fin to create a totally different series of images to my first shoot with her back in early 2016. This girl's career is sky rocketing right now and it was great to catch up with her a year after our first shoot. 

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JAMIE BELL | SHORTLIST MAGAZINE 10TH ANNIVERSARY

I shot two of the 10 different anniversary covers to celebrate a decade of Shortllst Magazine. The second was British actor Jamie Bell, photographed in a hotel in Toronto during the film festival. 

We shot for about 40 minutes and managed to get the cover done along with a series of other portraits for another issue which came out in mid November. 

 

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JAMIE VARDY | SHORTLIST MAGAZINE 10TH ANNIVERSARY

Back in the summer I was sent by Shortlist Magazine to Leicester City football stadium to photograph Jamie Vardy for one of the 10th anniversary covers. We set up a portable studio in the team shower block and had about 15 minutes with Jamie. It's amazing how often you see a photoshoot that looks like it's done in a big fancy studio when in reality its been done using whatever space is available at the time. Over the years I've set up a 'studio' in hotel rooms, gardens, hallways, kitchens, and all kinds of other weird locations and I love the challenge of trying to make it work despite the restrictions.

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RESULTS DAY

This week I was commissioned by Buzzfeed to go to Newham Collegiate 6th Form Centre and photograph the students' reactions as they opened envelopes containing their A-level results. I met some amazing people and some students going on to study at some of the country's top universities. I've been wanting to shoot a series similar to this for a long while and I was overjoyed when I got asked to shoot this. 

WILL I AM

I recently shot portraits of Will I Am as part of an advertising campaign with Mother advertising agency. We photographed him in the penthouse of the Ace Hotel in Shoreditch. 

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THE HIGH PRESSURE 2 MINUTE EDITORIAL

 

Sometimes in my job I'm required to shoot an editorial portrait in an incredibly tight time frame and in a totally uninspiring location. I really like these situations and have realised over the years that I work better when I'm under pressure. The more experience I get as a photographer, the more I manage to turn these high pressure situations into a fun and exciting challenge.

Case study

I recently had a shoot that was a perfect example of this. I was hired by a long term magazine client to shoot a potential cover portrait of world renowned architect Lord Norman Foster. When I shoot editorial portraits, many clients give little to no creative direction at all. There's no call sheet, no picture editor on site and no hints as to how they'd like the results to look. The brief I got for this shoot was an address, a time, and a heads up that I'd have a maximum of two minutes to get what I needed. Through previous experience I already had enough info to get a pretty good idea of what I could expect........

For a start the location was in a hotel and during a huge conference. This meant that I was likely to only be given whatever room the journalist was given to conduct her interview. There would almost definitely be chairs, a table and walls. It was unlikely to be anything more than a meeting room so my best bet was to think along the lines of a head/upper body portrait. When you're given a hotel suite to work with its a totally different story, but knowing this was being done at a business conference there was a 99% chance of being given nothing more than a meeting room. 

Here's what I had to work with. This is the hotel's press room complete with no natural light and taken up almost entirely by a huge table.

My first thought was "Wow, I cant even put up a backdrop in here!". I'd brought one of my home made canvas backdrops but there wasn't even room to spread the legs of the stands out with that huge table in the way. So my next thought was to use the wallpaper as a backdrop. The room has matte textured wall paper which I knew would work for what I needed. At one end of the huge table was just enough room to position my subject in front of the wall and shoot from about 6 feet away. 

 

The journalist and I had ten minutes in total with Lord Foster. 8 minutes for the interview and 2 for shooting the portrait. I set up my 39" Elinchrom Rotalux Deep Octa with a Profoto B1 and took a couple of test shots using Lord Foster's press officer. Once the interview was over Lord Foster stepped in and I managed to shoot roughly 30 frames with the journalist holding a reflector for me to highlight Lord Foster's eyes. Here's the results.

Laretta

This is Laretta. She came to my studio last week to have her portrait taken. I don't always feel a need to publish this sort of work but once in a while I get something really quite unique. 

 

Chivas Regal - The Venture

This month I spent a week shooting for Chivas Regal. Each year Chivas hold a global entrepreneurial competition called The Venture. The final commences in LA this summer and the winner will receive $1million to help fund their potentially world changing business. Part of this commission was to shoot a series of stylish portraits of the 30 finalists. Here's a selection of them. It became clear to me that all the intelligence and technology needed to solve the worlds problems is available. While the world's governing bodies are doing very little, people like this are pushing forward with making our world better. Read more about these excellent humans here https://www.chivas.com/en/the-venture/finalists/

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FILING MY TAXES

I tried today to pay my taxes online but ended up accidentally buying one of these instead. 

Some sort of glitch with the internet. 

  

ARINZE KENE - START TO FINISH

A few months ago I shot portraits of British actor Arinze Kene at Claridges Hotel in Mayfair. We were allowed roughly two hours to shoot various set ups in a hotel suite that I will probably never afford to stay in! I love shooting portraits on location and after weeks of shooting studio work I was so happy to do a shoot in a location such as this. 

Here's the shot I'm going to be talking about..

CHOOSING THE SETTING This was the last set up of about 5 that we shot that day. We made use of the lounge area of the hotel suite along with the hall way and the bathroom. I wanted to make use of the glowing bedside lamps in the bedroom and shoot something quite cinematic with Arinze. I could have spent all day/night working on this location. There were so any options to shoot something great and only a small window of time to settle on something. As is the way with almost all shoots!   EXPOSURE & LIGHTING For this portrait I needed the most subtle and gentle pop from a strobe. I didn't want to ruin the ambient light by flooding it with light from the flash. I used a Profoto D1 into a 36" Photek Softlighter umbrella with an extra layer of diffusion material to dull it down even further. I positioned the strobe and brolli to camera left so that it was coming from roughly the same angle as the bedside lamp. Here's a shot straight out of camera...   Camera: Canon 5d Mk3 ISO: 400 Shutterspeed: 1/125 Aperture: 2.8  

CHOOSING THE SETTING

This was the last set up of about 5 that we shot that day. We made use of the lounge area of the hotel suite along with the hall way and the bathroom. I wanted to make use of the glowing bedside lamps in the bedroom and shoot something quite cinematic with Arinze. I could have spent all day/night working on this location. There were so any options to shoot something great and only a small window of time to settle on something. As is the way with almost all shoots!

 

EXPOSURE & LIGHTING

For this portrait I needed the most subtle and gentle pop from a strobe. I didn't want to ruin the ambient light by flooding it with light from the flash. I used a Profoto D1 into a 36" Photek Softlighter umbrella with an extra layer of diffusion material to dull it down even further. I positioned the strobe and brolli to camera left so that it was coming from roughly the same angle as the bedside lamp. Here's a shot straight out of camera...

 

Camera: Canon 5d Mk3

ISO: 400

Shutterspeed: 1/125

Aperture: 2.8

 

POST PRODUCTION Nothing that technical here. I brightened up Arinze's face by raising the exposure of the whole image in curves, inverting the layer mask and then painting the effect only into Arinze. I then wanted to darken the room and create a subtle and natural vignette drawing the viewers eye towards Arinze and making him stand out in the frame. I call this my 'smart vignetting' technique which involves bringing down the entire exposure in curves. I then drew a big loose selection around my subject (i.e Arinze) and inverted the layer mask to bring my selection back to the original exposure. I then blurred the hell out of the selection using gaussian blur. The colour toning involved using the blue channel and the red channel on a curves adjustment layer to put a blue/cyan tone into the shadow areas. Then, on another cures adjustment layer, I warmed up the highlights on Arinze's face by adding more yellow via the Blue channel. Finally, I sharpened up Arinze's face slightly using a high pass filter. Here's the final result as seen in Attitude magazine back in December.  Thanks for reading!

POST PRODUCTION

Nothing that technical here. I brightened up Arinze's face by raising the exposure of the whole image in curves, inverting the layer mask and then painting the effect only into Arinze. I then wanted to darken the room and create a subtle and natural vignette drawing the viewers eye towards Arinze and making him stand out in the frame. I call this my 'smart vignetting' technique which involves bringing down the entire exposure in curves. I then drew a big loose selection around my subject (i.e Arinze) and inverted the layer mask to bring my selection back to the original exposure. I then blurred the hell out of the selection using gaussian blur.

The colour toning involved using the blue channel and the red channel on a curves adjustment layer to put a blue/cyan tone into the shadow areas. Then, on another cures adjustment layer, I warmed up the highlights on Arinze's face by adding more yellow via the Blue channel.

Finally, I sharpened up Arinze's face slightly using a high pass filter.

Here's the final result as seen in Attitude magazine back in December. 

Thanks for reading!

NEW WEBSITE IS LIVE!

Howdie folks.

Welcome to my brand new website as of Jan 2017. Not all that different to the old one but this one is on a platform that I can mess with myself rather than having to call my friend Luke and offer him beer in exchange for his coding skills. 

Plenty of updates to come ranging from behind-the-scenes content to step by step posts about how I created some of my work. 

Have a great day.

SHERIN AMINOSSEHE PORTRAITS

I photographed Sherin Amonissehe on the roof of the London treasury and cabinet offices. We were originally given a office room on the top floor but we forced open and old window that was meant to be glued shut and spent 5 minutes shooting portraits on the roof. Talk about speedy and stealthy! 

IVAN MASSOW PORTRAITS

This is Ivan Massow. Ivan is a gay rights campaigner and London mayoral candidate. Photographed for Estates Gazette magazine just off Russell Square. 

ISLE OF WIGHT FESTIVAL -START TO FINISH

I’m really proud of the results that came out of shooting the Isle of Wight Festival and wanted to show you all the effort that went into it and how my team and I worked together during the festival.

This was one of the most enjoyable weekends of my year so far and I can’t wait to do similar shoots at festivals next year.

About 3 months ago a solo artist friend of mine, Ben Montague, mentioned that he was playing at the Isle of Wight festival this summer. He also mentioned that he was on good terms with the owners of the festival and that he could introduce me if I wanted. I jumped at the opportunity to speak to them as I already knew exactly what I wanted to talk to them about….

Every year I’ve always loved seeing the photographs from Mark Seliger’s Vanity Fair booth at the Oscars and Cannes Film Festival. The same goes for Brantley Gutierez’s recent work at Coachella festival and pretty much anything that Austin Hargrave produces when he shoots portraits at music and film festivals for The Hollywood Reporter. I noticed last year that this sort of thing is barely ever done at similar events in the UK where all the artists are photographed in a timeless and non-commercial way to produce a really great series of portraits. I’ve been wanting to do something along these lines for a while and being introduced to the people behind IoW festival seemed like the perfect time to get it done.

I sent the organisers a simple and short pitch of what I wanted to do, how much space it would take and what the results would look like. They were instantly up for the idea and things started to take shape. I was really excited but incredibly skeptical about whether it would go ahead and also whether the right preparations would be made by IoW to make it worthwhile. One thing I’ve learned is that if you get booked for a cool shoot and then tell your friends or your girlfriend, that shoot will almost definitely get cancelled. It’s just life being cruel and on this occasion I wasn’t telling anyone until I was sat in front of a musician with a camera in my hands. Fortunately it didn’t get cancelled and here’s how it went…..

BUILDING THE SET

The people at the IoW office told me they’d got me a 6m x 6m tent to shoot in right next to the press tent. The idea would be that the artists would do press related things first and then be taken over to my tent for a portrait shoot. This was fantastic news and it was all playing out even better than I expected. The next thing I had to do in the lead up to the festival was design and build a set that I could take with me in my VW Golf all the way to the island with an assistant and a videographer.

The sample images that I showed IoW were a combination of mark Seliger’s shots from the oscars and some of Brantley Gutierez’s shots from Coachella. I didn’t want to do exactly the same thing as them but it made sense for me to build something similar given that these photos are what helped convince the client in the first place. When I shoot more of these in future I’ll branch out and design something different for each one.

The backdrops are hand painted in my studio by me. I chose to use grey as its a neutral tone that works with anybody’s skin tone or choice of clothing. I also wanted to work on something quite light given that it was a summer festival. The natural coloured sheets that you can see hanging on the left and right of the backdrops are painters dust sheets from my local hardware store (£20 for 3!). All this barely cost me much and the biggest expense I had to make was buying more backdrop supports and more stands. I could have rented these but having all this extra gear is pretty useful in the long term given that I might be doing similar shoots to this in future. Other than that we just needed a sh*t load of A-clamps, duck tape and cable ties to hold it all together.

Lastly, there was the issue of the floor. I thought our studio-tent would just have grass to stand on and I originally planned to use the 3rd dust sheet as a floor for the set. Luckily when we arrived we found the tent had a perfect battered wooden floor which worked perfectly with our backdrops and the general colour scheme of what I wanted.

EXPOSURE AND LIGHTING

The technical set-up for this shoot was incredibly simple. I brought several lights with me along with a load of different light modifiers and quickly realised that I barely needed any kit to get the results that I wanted. The entire series is lit with a 600w Paul C. Buff Einstein strobe and a 46″ Photek Softlighter. Even the group shots are lit this way. I positioned my light to camera right and feathered the light onto my subjects. This means aiming the face of the umbrella across the front of my subject rather than directly at them. You get an incredibly flattering lighting effect when using this side-spill from the Photeks. 

My camera settings were as follows….. (Sample image straight out of camera)

Camera: Canon 5dmkIII ISO: 100 Aperture: f/9 Shutterspeed: 1/160

SHOOTING

These shoots were incredibly quick. I knew that the artists had more important people to speak to and plenty of free beer to drink just outside my tent so I worked as if I was being timed for a game show. Working at this pace is definitely something I’m used to and the benefits can be huge. It raises your ability to get the best out of your subject very quickly and being able to deliver a great result in under a minute leaves a good impression on the artists, their PR agents and whoever your client is. The aim is to deliver the best result with the least inconvenience to the people around you. The quickest shoots during the festival were Jessie Ware (30 seconds) and James Bay (45 seconds). 

POST PRODUCTION

Minimal retouching in these shots. In fact we were putting the images out on Instagram (@willbremridge) within ten minutes of shooting. There was a tiny bit of warmth added to the images by putting a little more yellow into the highlights. I also added a very very small amount of blue to the shadows. Both of these were done using Curves adjustment layers. A little extra punch given to the blacks and lastly my ‘Smart-Vignetting’ technique which I’ve covered in several previous Start-To-Finish posts. 

Thanks for reading!

PIPPA MALMGREN

Here’s some portraits of Pippa Malmgen, chief financial advisor to the Ronald Reagan and George Bush presidential campaigns.  

Photographed at the Four Seasons Hotel in Mayfair, London, for Estates Gazette Magazine. 

 

BRUCE DICKINSON | START TO FINISH

A few summers ago I was called by FHM magazine to shoot Iron Maiden frontman and commercial pilot - Bruce Dickinson

I definitely did a little dance around the room when I got this phone call. Firstly because its Bruce bloody Dickinson!! Secondly because this job came along during a very quiet and frustrating period. It was during the London 2012 Olympics which seemed to put me and all my photographer friends in two different camps. All of London’s attention was on the games and nothing else so photographers were either really busy shooting Olympic related stuff or, like me, they were bored to tears. I shot quite a lot of Olympic athletes on the lead up to 2012 but when the Olympics kicked in things got very quiet. 

I headed off to Cardiff, Wales, with a journalist from FHM to check out Bruce’s company - Cardiff Aviation. 

This still remains one of my favourite portrait commissions to date.

Once we arrived and dumped the gear we were given a tour of the entire premises by Bruce himself. Cardiff Aviation are based just outside the Welsh Capital on a site made up of several aircraft hangars and two runways. We were shown all the different aviation equipment that Bruce’s company builds along with various different planes parked on the premises. Bruce mentioned that he wanted to see Britain become a nation that builds things again and his knowledge about all things aviation was incredible. 

CHOOSING THE SETTING

Sometimes I’m presented with a location thats overwhelmingly photogenic causing a hundred ideas to float around in my head when I’ve only got a short time to make some decisions. I’ve learned that in these situations you cant possibly shoot everything you want and you have to be disciplined in what you want to achieve. It’s much better to shoot a handful of set ups really well than shoot a huge variety of rushed, mediocre work. 

I was given an hour to wander around the site alone and scout for locations with only one bit of advice - “Don’t go near that end of the airfield or you might get shot”…… Bruce’s airfield bordered a high security military site and I was warned that if I go too close to the perimeter and they see an anonymous man loitering with a camera things could get pretty ugly. 

I didn’t need to worry though. I had plenty of inspiration without having to go near the danger zone. I knew before leaving London that I wanted to get a hero shot of Bruce with an aircraft in the background, preferably sitting on the wing or in one of the engines. Fortunately there was a disused commercial jet parked right in the middle of the airstrip for me to use. The sun was hitting the metal aircraft and the tarmac in a harsh but stunning way and I began to figure out my lighting after a few test shots. 

 

EXPOSURE AND LIGHTING

I used a fair bit of fire power for this shot. Although the sunlight was coming from roughly the right direction, it was the middle of the day in peak summer which meant that the sun was really high in the sky and I needed some strobes to help me out. I wanted to light Bruce from a realistic/natural angle and used my strobes create a slightly cleaner and evenly balanced version of what the sun was already doing. I wanted to underexpose the plane to give the shot a feel that resembled evening light conditions and fill in my subject with just enough pop. I got called up for the job the day before so I didn’t manage to find an assistant but luckily there was no wind at all to smash my gear to pieces!

This was lit with two 600w Einsteins with 5ft octobanks to camera right, 12 feet high and aimed straight at Bruce.  Here’s a lighting diagram showing the set up along with a Straight-Out-Of-Camera shot.  I really need to remember to take a few steps back and shoot a BTS photo more often. 

Camera: Canon 5dmkII Lens: 50mm Aperture: F/14 Shutterspeed: 1/200

SHOOTNG

I was warned by Bruce’s PR guy that he wasn’t a fan of having his photo taken and that the best way to keep him relaxed was to allow him to keep being interviewed while on set. That was fine by me and I could call his attention for short bursts rather than force him to pose for minutes on end. I didn’t need any theatrics from him and I just wanted him to sit in the engine while I clicked away for a while. I shot 21 frames on this set and then moved onto the next idea. 

POST PRODUCTION

Not a huge amount going on here. Just a bit of colouring and contrast work. I pulled down the exposure using a curves adjustment layer and then painted some of the original brightness back into Bruce and parts of the plane. This gave the image deeper shadows and made the highlights pop a bit more. 

Next I worked on colouring the image so that the light looked less ‘midday’ and a bit more ‘early evening’. I did this using a Colour Balance adjustment layer to put more warmth into the highlights and another one to put cooler tones into the shadows. 

A little bit of selective sharpening on Bruce and I was done. 

We shot 4 or 5 different set ups, had a beer with Bruce to finish and headed back to London. 

Thanks for reading!

KENDRICK LAMAR | START TO FINISH

 Back in 2013 I photographed rapper Kendrick Lamar for Q Magazine and Universal music. Sadly the portrait never ended up being used by the magazine however it’s still one of my favourite portraits to date and one that I get a lot of questions about from people who stumble upon my work. 

 

With quick magazine portraits my main aim is to shoot a handful of different set ups as efficiently and swiftly as I can. It’s always good to hand over a variety of different shots to a client and show that you can produce what looks like an hour long shoot even if you’re only given 10 minutes of camera time. In fact one of the most common questions I get asked when meeting with magazines and creative agencies is whether I can work quickly. Once I’ve got the shot I want from a set-up I move straight to the next one. Another thing that helps is I shoot most portraits with one light. I don’t even bother putting my light on a stand and instead work with an assistant holding the light on a boom. That way we can move from set to set really quickly and I can have the light’s position or power output changed in….err…….a flash. 

 

CHOOSING THE SETTING

We shot in the 5 star Landmark Hotel on London’s Marylebone Road. Before heading out on the job I remember Googling the hotel and getting a good idea of what the rooms looked like. Although it’s great to allow yourself the chance to shoot something unexpected, I think it’s even more important to have at least one idea already planned out in your head. You never know how much time you’re truly going to get regardless of what the magazine have told you. It’s all down to busy schedules and how diva-like the subject and their entourage are being that day. 

I remember being heavily inspired by Austin Hargrave’s fantastic portrait of Elvis Costello (below) and wanted to make similar use of both natural window light, and glowing table lamps. 

I find smart hotel rooms are great for using lighting gear while balancing with ambient light. The abundance of soft furnishings and thick textured wall paper means that, unlike a white room, your strobes aren’t going to bounce, reflect and cause harsh shadows on walls. The light from a strobe tends to hit the subject but get swallowed up elsewhere meaning you don’t ruin the lovely glow from table lamps etc. This is a slightly vague statement but Austin’s portrait is a great case study. The spill from a softbox wouldn’t bounce/reflect much off anything in Elvis’s hotel room due to all the matte fabric covering everything. 

Back to Kendrick….

As soon as I walked into the hotel suite I spotted what I wanted. A large-ish window surrounded by interesting textures which would create a nice light fade. There was room to stand back and shoot, room for my assistant and whats more I already had my glowing table lamp in position!

I had 20 minutes to wait while Kendrick finished up an interview and therefore tons of time to get my head in the game and my lighting just right. 

EXPOSURE & LIGHTING

This had to be a very precise set up in order to get a decent amount of light in the hotel room but not over expose the curtains either. I took various test shots until I had the right amount of glow from the lamp and the window and then concentrated on lighting my subject nicely. I took test shots of Kendrick’s tour manager with my assistant, Adam, booming the light from various places until I had what I wanted. On this occasion it was a 600w Einstein with a 46″ Photek Softlighter umbrella. 

I couldn’t have the strobe light aiming from my direction as it would have killed the natural glow from the window. Therefore I decided to boom the light almost completely over the top of Kendrick just out of the top right corner of the shot. I kept the light aimed slightly away from the wall and towards me so that it mainly fell on Kendrick and not the curtains. 

Here’s my in-camera settings and how the shot looked straight out of camera…

 

SHOOTING

Once Kendrick was in position we worked pretty fast. Kendrick was glad I just needed him to sit down. He was so jet-lagged or partied out that he fell asleep a few times while shooting. Besides that he was a good sport and didn’t mind using the tea cup as a prop. It’s something I had in mind before I showed up but it’s the kind of thing I knew I’d have to test the water for. 

We shot for about 3 minutes in this spot and a similar time for 4 other set ups. 

POST PRODUCTION

Much simpler post production compared to my previous BTS post about my Cody Wise shoot. As you can see the SOOC shot looks pretty similar to the end result. This retouch was mainly about careful vignetting and colour tone. 

I started by brightening up Kendrick’s face a little and removing any unwanted things like fluff on his hoody and his jeans. 

Next I did a bit of smart-vignetting which helped keep kendrick bright but dull down some of the flash spill on the back wall. I did this by pulling down the exposure in a Curves adjustment layer. I then drew a big loose selection around the centre of the shot and inverted the layer mask to bring my selection back to it’s original exposure followed by heavy gaussian blur to the selection. This creates a natural looking vignette in any shape you like. 

Once this was done I wanted to enhance the warm sunny glow from top of the window. There was already a bit of a golden glow but I enhanced it by adding a burst of yellow from the top. (New layer set to ‘Softlight’ - Coloured radial gradient - adjust opacity to suit).

This is one of 5 different set ups with Kendrick but by far my favourite. 

Cheers!