Andy Earl
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Video shoots are always great for catching glances of the artists in between takes. I'd been shooting him on set; he was comfortable around me. l caught his attention, no direction, he gave me a glimpse of Mick Jagger. I later worked with him in the video like a Rolling Stone' directed by Michel Gondry.
30 × 24 in, Limited edition 25
60 × 40 in, Limited edition 25
The brief was to capture an image for the TV series ‘Blue Planet’. My first thought was ‘Lets put him in the sea’. Logistically, we decided that the water tank at Elstree film studios with a theatrical ‘Blue sky’ backdrop to create the Ocean was a better option. As expected, Attenborough was a great sport. It was a little chilly in the water, and he waded through the ocean till we got the shot.
24 × 24 in, Limited edition 25
60 × 40 in, Limited edition 25
87 × 58 in, Limited edition 10
Inspired by Magritte and Salvador Dali, Delicate sound ‘Birds’ Thunder and lightning’ light bulbs’ Storm Thorgerson of Hipgnosis, seminal concept designer. We took the bulbs with us from the UK, and the customs officer said, ‘These lightbulbs are no good in Spain, we use screw fitting.’ Trying to explain they were for a Pink Floyd Album cover, got lost in Translation! This was pre-Photoshop; everything had to be in-camera. Stom loved the uncompromising midday sun, which enhanced the surreal oeuvre.
30 × 24 in, Limited edition 25
60 × 40 in, Limited edition 25
Q magazine: First exclusive photo session in Europe for five years. I arrived at the weekend, expecting to shoot Monday and was offered a slot at 4:00 am Thursday morning after he had performed an impromptu gig above a bar, for the Monte Carlo ‘jet set.’ We agreed with ‘his people’ on Friday at 5:00 pm on top of his hotel. Only an hour late, a three-minute photosession! One role of film, and it was over. He was eccentric, totally committed, and focused on getting ‘the shot’. Got a message back from him saying ‘UOY KNAHT’ and asking if you could take some pictures of my wife, Mayte? 50 Outfits later, at my studio in London, it was a great day, and she said, ‘Thank you’.
30 × 24 in, Limited edition 25
60 × 40 in, Limited edition 25
Iceland is magic; you can stand on a hot volcano with icebergs beneath you. Darwin was heading back to his car when the winds blew up, and the sea spray caught the light; his profile and cloak echoed the shape of Rock. Darwin is a fascinating guy from Silicon Valley, an ardent conservationist, passionate music lover and Rock star, with a penchant for Fortnite!
30 × 24 in, Limited edition 25
60 × 40 in, Limited edition 25
87 × 58 in, Limited edition 10
Mark was based at Tileyard Studios, Kings Cross, where I work, and when he moved to LA, I went out to do a session at his house and studio. Initially, I wanted the Californian vibe, palm trees, and blue skies in his garden as a backdrop. Spending time in his studio, his passion for music, quirky instruments and synthesisers. The picture just needs to be a beautiful portrait of him, no fuss or props. I hope I caught the moment.
30 × 24 in, Limited edition 25
60 × 40 in, Limited edition 25
Annies voice lyrics and style is exquisite, she can silence a stadium. She is like a chameleon, absorbs the mood and style and passion of the song. This photograph was between takes, her head was bowed, relaxed, I caught her attention, she looked up still in thought, one frame...one moment.
22 × 22 in, Limited edition 25
30 × 30 in, Limited edition 25
Rebecca was in 'Slow Club' with Charles Watson before she followed her passion and feelings and became a solo Artist. Taking that bold move to believe in herself and have the confidence to express herself 'solo' is brave. For me, this shows 'Self Esteem' untangling from a web of light. Now watching her career take off in so many directions, is fantastic. I always want to know what she is doing next.
22 × 22 in, Limited edition 25
30 × 30 in, Limited edition 25
I had worked with Dave a lot in the ‘Eurythmics’, he created this band, and we headed off to the desert to do our version of ‘The Last Supper’ with flags, banners, motorcycles and painted Mexican trucks. Organised chaos. Near our location was a deserted holiday park. To me, this captured the ‘American dream’.‘Swimming pool, blue skies, Palm trees;’ but with a Rock and Roll twist of a graffiti daubed across the swimming pool, Dave Stewart has always been a gentleman and a Rebel.
Glyceeprints
30 × 24 in, Limited edition 25
40 × 40 in, Limited edition 25
Rick Rubin, American record producer and guru, persuaded Johnny Cash to sit at home and record a selection of his music and other songs like “Nine Inch Nails,” U2, while Rubin quietly mixed the tracks. They wanted an iconic album cover. Cash is walking down the road with his guitar. Film-maker Martyn Atkins asked whether I minded flying from the UK to Australia while he’ll arrive from LA to shoot Johnny Cash, who was touring in Melbourne. We found a deserted Goldmine nearby and persuaded Johnny to leave his Hotel. My first impression of the ‘Man in black’ was that he looked like a preacher, so the field of wheat and stormy clouds captured this mood. Johnny coaxed the two dogs to stand on either side of him for two frames, and I got our photograph.
On ‘Later with Jools Holland’, Jools asked, ’Johnny, what was the meaning of the Dogs?’ He answered, ‘This one is Hell, the other Redemption’.
24 × 24 in, Limited edition 25
40 × 40 in, Limited edition 25
58 × 58 in, Limited edition 10
‘See Jungle, See Jungle, Go join your gang, yeah, City all over go ape crazy’. My first album cover, Malcolm McLaren and Vivienne Westwood liked the ‘painterly quality’ of my photographs and asked me to recreate Manet’s Le Dejeuner sur l’Herbe. We set up in the park, and everything was going well until a group of schoolchildren on a nature trail passed by. The record company were hesitant, McLaren was mischievous and sent the photo to Paris Match, who titled it ‘Take the Manet and run’ in Face Magazine. It was voted 16 most famous Album covers by Rolling Stone Magazine.
30 × 24 in, Limited edition 25
60 × 40 in, Limited edition 25
I did four Q covers for REM. It was always a treat to work with them. I loved their music, Michael Stipe loved photography and would borrow my cameras and try them out on the shoot. Their apparent nonchalance was just confidence, no arrogance. Our shots lasted 15 minutes; they liked the shots and came back for more.
30 × 24 in, Limited edition 25
60 × 40 in, Limited edition 25
Rob Warr of EMI saw the Bow Wow Wow picture and asked, ‘See what you can make of this bunch of lads from Birmingham?’ We started in Milton Keynes, where the new shopping centre had Palm trees, and there is now a ’blue plaque’ celebrating Duran's first shoot. This was my second job, ‘Simon le Bon’ was a shot from the Rio album; the boys wanted colourful nighttime reflections on the River to hint at Rio. I opted for a city rooftop with a 30-second exposure and a kick of the tripod to give an electronic buzz that reflected their music.
30 × 24 in, Limited edition 25
60 × 40 in, Limited edition 25
