CHRISTOPHER BRADBURY FMPA


digitally appear comfortable in their surroundings, with no hint of a stage-set or artificial light. If multiple elements are needed, Chris does not simply clone one shot (see the clan of white- hooded figures, top right). He shoots many different images. As for the client-photographer


MASTER PHOTOGRAPHY 26


relationship and the rewards of such a painstaking artistic process, it is very much like that between a painter and their subject or patron. In fact you could almost call Christopher’s clients patrons rather than customers – they are helping create the work and enable it to


treated as a business, but even without commissions, there would be no stopping the artist from creating something else! He has said before that it’s certainly not about the money, and it was also never about the fame or the qualifications. It has taken his fellow MPA friends


years to get him to agree that he had the right content to sub- mit for Fellowship. Earlier this year, we accidentally printed FMPA after his name and had to apologise… with the suggestion he should finally make it reality. And now he has!


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