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He says that the textures of the full-resolution images from the Hasselblad H3D that he was using are "so vivid, you feel you can reach out and touch it." Precise positioning of Broncolor strobes with small softboxes and grids produced the hard-edged, gritty look that he was going for. Bradley describes the look as a type of lighting that reads soft while actually being fairly hard.
"The sharpness reflects the real, factual nature of the subject matter," he continues, "in contrast to polished entertainment or fashion images we often see. The blue-green tones are on the opposite end of the color wheel from skin tones; opposite tones are pleasing together and create a more stark contrast so it further separated the faces from the environment. I also have different tones in the highlights and shadows, enhancing depth and contrast. I wanted to communicate the mood, which was heavy and dramatic."
His own reaction to the subjects varied widely from person to person, some of whom he agreed with and some of whom he did not. "That was not the point," he admits, "and I left my views out if it—both in sharing what I captured and in selecting whom to approach for the project. The overwhelming majority were incredibly sincere in their motives and dedication to the cause. I also wanted to include some police, but they weren't willing. The police were a big presence there. The periphery was lined with them. There were also a ton of photographers there, though not one of the photographers or videographers was lighting their subjects; my team was unusual in that sense."