0:00:02 > 0:00:06People say to me, what do you do? And I say... I shoot people!
0:00:06 > 0:00:09Keep coming at me, keep coming at me. Stop.
0:00:09 > 0:00:10I'm a bit like...
0:00:12 > 0:00:15..a hired assassin, you know. Pwchoo!
0:00:15 > 0:00:18I get a phone call like you see in the movies, I pack my bag,
0:00:18 > 0:00:22I go over and I shoot people!
0:00:30 > 0:00:34I never stepped out to be a superstar photographer.
0:00:34 > 0:00:36I'm an artist who happens to use a camera.
0:00:36 > 0:00:40Within what I do as an artist, there is no limits.
0:00:47 > 0:00:50I just wanted to take pictures, if it moved, click.
0:00:50 > 0:00:54# We're so pretty, oh so pretty... #
0:00:54 > 0:00:57All my friends thought I was crazy.
0:00:57 > 0:01:00# We're so pretty, oh so pretty... #
0:01:05 > 0:01:08One shot. I knew when I got it
0:01:08 > 0:01:13and it became one of the most famous sleeve shots I've ever done.
0:01:13 > 0:01:16Photography, for me, is everything.
0:01:16 > 0:01:18Photography is life itself.
0:01:20 > 0:01:22It is an amazing medium.
0:01:22 > 0:01:25# We're so pretty, oh so pretty.... #
0:01:39 > 0:01:43I don't actually sleep. I do about four hours, to be honest with you.
0:01:43 > 0:01:45That works for me.
0:01:45 > 0:01:47And then because what I do is quite international,
0:01:47 > 0:01:50if I'm up in the middle of the night, it means Japan is up
0:01:50 > 0:01:52so that networks for me.
0:01:54 > 0:01:56I never liked the idea of the look of a photographer,
0:01:56 > 0:01:59the bags and everything else. I never liked it.
0:01:59 > 0:02:02I always used to carry my cameras in an indiscreet bag,
0:02:02 > 0:02:06nothing that looked like a photography bag.
0:02:06 > 0:02:09Also I used Leicas
0:02:09 > 0:02:13which was very rare to use that in the business -
0:02:13 > 0:02:15in music photography.
0:02:15 > 0:02:19Hence you can just drop it in your pocket.
0:02:19 > 0:02:24I remember when I did a first show I ever did, I took a Leica out,
0:02:24 > 0:02:27everyone had Canons and Nikons and Pentaxes and I had Leica.
0:02:27 > 0:02:31- And they looked at me and thought, "What the- BLEEP- is that?!"
0:02:43 > 0:02:46# She had such a pretty face when she was young...#
0:02:46 > 0:02:50Skinny Girl Diet for me is probably one of the really exciting
0:02:50 > 0:02:53young female bands coming out of England at the moment.
0:02:57 > 0:03:00The kind of pictures I'd like to get of the band is to try
0:03:00 > 0:03:05to capture the energy which I think they exude on stage.
0:03:11 > 0:03:13- Hi.- Hello.
0:03:13 > 0:03:16- Hugs.- I'm Ursula.
0:03:16 > 0:03:17Hi. Nice to meet you.
0:03:17 > 0:03:20Hi, Delilah.
0:03:20 > 0:03:22I'm Amelia.
0:03:23 > 0:03:26When you have your own studio, you know
0:03:26 > 0:03:28exactly what the vibe of the place is.
0:03:28 > 0:03:30It's a constant, in that sense.
0:03:30 > 0:03:32So when you hire a place, it's completely different.
0:03:32 > 0:03:36You have to get the feel of the place.
0:03:36 > 0:03:39It's really like meeting a girl for the first time.
0:03:42 > 0:03:45You've got somebody in music with you?
0:03:49 > 0:03:54What I look for in a band at that time I'm interested in working with
0:03:54 > 0:03:56is a certain amount of originality
0:03:56 > 0:04:01and a certain confidence that they have as a singer, as a band.
0:04:02 > 0:04:04Big fans of his work.
0:04:04 > 0:04:08I feel like he captures people's true essence in his photography.
0:04:08 > 0:04:12Get a little glimpse of their aura from the pictures and yeah,
0:04:12 > 0:04:15it's something a lot of photographers nowadays
0:04:15 > 0:04:19are a bit lazy and they just want to dress you up like dolls and stuff.
0:04:19 > 0:04:24Whereas I feel like Dennis's style, it's fun and it almost seems like
0:04:24 > 0:04:26he's got a friendship with them.
0:04:26 > 0:04:29You can kind of feel the relationship and get a mood.
0:04:29 > 0:04:33Well, what if girls look like Beyonce and play punk music,
0:04:33 > 0:04:37what are you going to do then? It is switching things up a bit.
0:04:38 > 0:04:41And like, just, we are like unique people.
0:04:41 > 0:04:44We're not going to be copying the past, we are inspired by that.
0:04:44 > 0:04:47OK, what you're doing there now, I would say hold that,
0:04:47 > 0:04:51look straight at me and the same kind of thing.
0:04:51 > 0:04:55When I work with a band, I like to work when there's no brief.
0:04:55 > 0:04:58That's cool. I like to keep it nice and open.
0:04:58 > 0:05:01That way I can feel I can get much more out of the band
0:05:01 > 0:05:03when there is no set brief.
0:05:03 > 0:05:05That's the way I like to work.
0:05:05 > 0:05:08I just want to give you an idea of where we're going with it.
0:05:08 > 0:05:11We'll chill out again before we start.
0:05:16 > 0:05:20I was born in Jamaica and I was brought over at the age of four
0:05:20 > 0:05:26with my mother. At that time, people came over for a better life, really.
0:05:26 > 0:05:28That is how it began for me.
0:05:32 > 0:05:36The first thing happened when I arrived, the plane landed and it was
0:05:36 > 0:05:40winter and as we were coming down, I said to my mother, "Are we here?"
0:05:40 > 0:05:42As I said, "Are we here?"
0:05:42 > 0:05:45steam came from my mouth and I thought I was on fire!
0:05:45 > 0:05:49I had never seen that before and that was the first thing.
0:05:49 > 0:05:53I couldn't understand why anyone would want to come to such a cold place!
0:05:58 > 0:06:01One of the first weeks or so we went to the church
0:06:01 > 0:06:04and I was introduced to the vicar.
0:06:05 > 0:06:09I was told I had to join the choir so I did join the choir.
0:06:11 > 0:06:13And one of the things that happened to me
0:06:13 > 0:06:15was they had a photographic club.
0:06:15 > 0:06:18But the first time I went to the darkroom,
0:06:18 > 0:06:21I saw one of the older boys in the darkroom and I sneaked in
0:06:21 > 0:06:24and he was printing, took the paper,
0:06:24 > 0:06:26put it into the dish and then rocked
0:06:26 > 0:06:31the dish and this image appeared and I just thought, wow, magic!
0:06:31 > 0:06:33Magic!
0:06:33 > 0:06:35And I just couldn't believe it.
0:06:35 > 0:06:38And from that day, I just knew I wanted to be a photographer.
0:06:38 > 0:06:40I was smitten. That was it.
0:06:40 > 0:06:43I just wanted to be a photographer, I just wanted to take pictures.
0:06:43 > 0:06:48I remember the first time I did a print, and I couldn't even
0:06:48 > 0:06:51wait for it to dry and I ran home and showed my mum. "Look, look!
0:06:51 > 0:06:52"Look what I've done!"
0:06:52 > 0:06:57And she was like, "It's very nice." But I was so excited.
0:06:57 > 0:07:00And then, for me, that was it. The magic...
0:07:00 > 0:07:05had begun and I have been doing it ever since.
0:07:19 > 0:07:23By the time I was ready to leave school, you have this thing,
0:07:23 > 0:07:26a careers master, I remember sitting with him
0:07:26 > 0:07:29and my mother and he said, "What is it you want to do, boy?"
0:07:29 > 0:07:31I said, "I want to be a photographer."
0:07:33 > 0:07:36And I remember he looked at me and said, "Don't be silly.
0:07:36 > 0:07:38"There's no such thing as a black photographer."
0:07:38 > 0:07:40I said, "Yes, there is.
0:07:40 > 0:07:43"There's James Van Der Zee, Gordon Parks..."
0:07:43 > 0:07:45And he looked at me like, "Who?"
0:07:48 > 0:07:53We're in Cecilia Road in Dalston, Hackney.
0:07:53 > 0:07:56Across the road there is the house which
0:07:56 > 0:08:00I kind of grew up from the age of...
0:08:00 > 0:08:0111.
0:08:01 > 0:08:03What I did do when I got my own room,
0:08:03 > 0:08:05I completely blocked out the curtains
0:08:05 > 0:08:08so it's that window on the left.
0:08:08 > 0:08:13I completely blocked out the curtain with plastic bin liners and...
0:08:14 > 0:08:20Built a shelf, workbench, got it larger and turned it into a darkroom.
0:08:20 > 0:08:25So, I was constantly sleeping with chemicals around me, 24/7.
0:08:25 > 0:08:28This spot where I am standing was a telephone box which
0:08:28 > 0:08:30was my office, as such.
0:08:30 > 0:08:36And this was the number I gave out to prospective clients.
0:08:37 > 0:08:41I used to sleep with my window open and when the phone rang,
0:08:41 > 0:08:46I ran down the stairs and ran into the telephone box and said,
0:08:46 > 0:08:49"Dennis Morris's studio!" and no-one ever knew.
0:08:49 > 0:08:52I had a reputation in the neighbourhood of being cheap
0:08:52 > 0:08:53and good.
0:09:01 > 0:09:04I turned the living room into a temporary studio
0:09:04 > 0:09:08so what I used to do is pin up a white sheet against the wall,
0:09:08 > 0:09:11I would borrow tungsten lights from the photographic club
0:09:11 > 0:09:14and then when people came to have their photographs taken,
0:09:14 > 0:09:16they would stand in front of the white sheet
0:09:16 > 0:09:19and I would do portraits and that's how I earned money.
0:09:24 > 0:09:27How it worked within a West Indian family was,
0:09:27 > 0:09:31I had to contribute to the household so the money I earned I would give
0:09:31 > 0:09:35to my mother to help out because in those days life was tough.
0:09:36 > 0:09:37That's how it worked.
0:09:38 > 0:09:42No-one could understand why I was so obsessed with this thing,
0:09:42 > 0:09:44photography.
0:09:44 > 0:09:47I had this nickname, Mad Dennis, because they couldn't understand
0:09:47 > 0:09:52why I wasn't interested in playing football, cricket or whatever.
0:09:57 > 0:10:01In those days, the style of photography was reportage.
0:10:03 > 0:10:07Reportage is really about capturing the moment.
0:10:09 > 0:10:11Reportage was my influence.
0:10:12 > 0:10:16I would walk around with my camera constantly looking for pictures,
0:10:16 > 0:10:19taking pictures.
0:10:20 > 0:10:24And so it would be pictures of my friends, in their homes,
0:10:24 > 0:10:26that's how it all started for me.
0:10:28 > 0:10:33# To be young, gifted and black. #
0:10:33 > 0:10:35I used to do weddings, there was a white guy with a black girl
0:10:35 > 0:10:39and you could see both families were not into it.
0:10:39 > 0:10:43And whatever I did to try to get a smile in the photograph was
0:10:43 > 0:10:45impossible, it was always tension.
0:10:47 > 0:10:49But it was one of those things.
0:11:02 > 0:11:05Across the road there, with that butcher shop,
0:11:05 > 0:11:07used to be the Trojan record shop.
0:11:08 > 0:11:12Which is where we used to meet on a Saturday afternoon
0:11:12 > 0:11:15and pick up the leaflets to find out where the latest dances were.
0:11:15 > 0:11:18All the blues dances.
0:11:18 > 0:11:22# Wonderful world, beautiful people. #
0:11:22 > 0:11:25When you walked into the record shop you would always play
0:11:25 > 0:11:29the track, the record before you bought it.
0:11:29 > 0:11:33And then you would listen to the entire length of the song
0:11:33 > 0:11:35and then you would say yes or no.
0:11:35 > 0:11:38The guy in the shop would play maybe ten different records
0:11:38 > 0:11:40and you may buy one or all ten.
0:11:40 > 0:11:44There was a constant, constant playing of music all the time.
0:11:49 > 0:11:51So then if this was the record shop, I would be standing
0:11:51 > 0:11:55here like a bad boy, like a rude boy, listening to tunes and stuff.
0:11:57 > 0:12:02# So, let's start getting happy now, ready? Yeah, yeah, yeah! #
0:12:02 > 0:12:05Reggae music was important for the West Indian community
0:12:05 > 0:12:09because it was a way of knowing what was happening back in Jamaica.
0:12:09 > 0:12:13The music was a way of telling stories, a newspaper.
0:12:15 > 0:12:19This is the site of the famous, infamous Four Aces Club.
0:12:22 > 0:12:26The Four Aces Club was one of the first black owned clubs.
0:12:26 > 0:12:29Any of the Jamaican artists or American artists who came
0:12:29 > 0:12:33over to England would play at the Four Aces Club
0:12:33 > 0:12:36because all the blues dances never started before ten o'clock
0:12:36 > 0:12:40and then go on until eight in the morning.
0:12:40 > 0:12:44I used to go really early while they were setting up
0:12:44 > 0:12:46and that's how I do my pictures.
0:12:48 > 0:12:50One of my most famous pictures,
0:12:50 > 0:12:54taken in the Four Aces Club, is of Count Shelley's sound system.
0:12:54 > 0:12:58Count Shelley is one of the sounds that represented Hackney.
0:12:58 > 0:13:01And I've got this really great shot of the sound system with
0:13:01 > 0:13:05a selector, the selector is the man that would choose records to
0:13:05 > 0:13:08be played, and the MC, the man on the microphone.
0:13:08 > 0:13:13SPEAKS JAMAICAN PATOIS Next tune. Yes.
0:13:15 > 0:13:19And then, boom, everyone would start rocking. Ha-ha!
0:13:22 > 0:13:26# No sun will shine over my day today
0:13:27 > 0:13:29# No sun will shine
0:13:31 > 0:13:35# The high yellow moon won't come out to play... #
0:13:38 > 0:13:41Bob Marley was one of the first people I heard at the Four Aces Club.
0:13:45 > 0:13:47But Bob Marley was being played everywhere.
0:13:47 > 0:13:50Even in homes, not just the clubs.
0:13:50 > 0:13:52Bob Marley was universal in that way.
0:13:52 > 0:13:54# Where is the love? #
0:13:54 > 0:13:58He was the new rebel voice coming out of Jamaica.
0:13:58 > 0:14:01The voice of the youth of Jamaica.
0:14:04 > 0:14:08And so for me, hearing that, and I was searching,
0:14:08 > 0:14:12I was looking for a way and when I heard his music,
0:14:12 > 0:14:16heard his voice, I thought, "Wow, I want to be a part of this."
0:14:17 > 0:14:20So when I heard he was coming to do his first
0:14:20 > 0:14:24tour of England, I decided not to go to school that day.
0:14:24 > 0:14:25Bunked off school.
0:14:25 > 0:14:30Went down to this club called the Speakeasy Club in the West End.
0:14:30 > 0:14:32Went and waited and waited and waited.
0:14:32 > 0:14:36Eventually, he turned up and as he was walking towards me,
0:14:36 > 0:14:39I said, "Can I take a picture?" "Yeah, man. Come in."
0:14:39 > 0:14:42I went in and the adventure began.
0:14:42 > 0:14:46And then he told me, later, about the tour
0:14:46 > 0:14:51he was doing which I knew about. And asked me if I'd like to come along.
0:14:51 > 0:14:55I said, "Yeah!" The next morning I went over...
0:14:55 > 0:14:58I went home the next morning, I packed my sports bag as
0:14:58 > 0:15:01if I was doing PE and went to the hotel
0:15:01 > 0:15:05and jumped into the tour van.
0:15:05 > 0:15:08In those days, there was no tour bus.
0:15:08 > 0:15:12And then it was a Ford Transit van and he looked around to me
0:15:12 > 0:15:14and said, "Are you ready, Dennis?"
0:15:14 > 0:15:18I went, click, "Yeah!"
0:15:18 > 0:15:22This was where it all began on the journey.
0:15:36 > 0:15:39So, one of the things I learned about Bob was when he had
0:15:39 > 0:15:43time off, he would go shopping and I never knew what he was shopping for.
0:15:43 > 0:15:47He would always buy 20 footballs, 20 football kits,
0:15:47 > 0:15:5120 pairs of boots and eventually I realised
0:15:51 > 0:15:54he was shopping for the kids in Trenchtown.
0:15:54 > 0:15:57In Jamaica, kids were very, very into football.
0:15:58 > 0:16:01On that tour, the first tour, we had many, many conversations,
0:16:01 > 0:16:06and from that first meeting, and he really took to me.
0:16:06 > 0:16:11And for me, he was the first person I had met, black person,
0:16:11 > 0:16:14who told me when I said to him I want to be a photographer
0:16:14 > 0:16:17and he said to me, "You can be a photographer.
0:16:17 > 0:16:19"They will tell you you can't be a photographer,
0:16:19 > 0:16:23"but you can be what you want to be."
0:16:23 > 0:16:25I took it in.
0:16:25 > 0:16:30Now this shot, for me, is very sad.
0:16:30 > 0:16:33This was the last image I ever took of Bob.
0:16:35 > 0:16:38He had come into London and he called me
0:16:38 > 0:16:40and I went over to see him.
0:16:40 > 0:16:43What was really different was this time round, Bob was normally
0:16:43 > 0:16:47very vibrant, he seemed very withdrawn.
0:16:47 > 0:16:52And he picked up the guitar and started playing this song.
0:16:52 > 0:16:55# Old pirates, yes, they rob I... #
0:16:55 > 0:16:59And I never knew what the song was but after he passed,
0:16:59 > 0:17:01I realised it was Redemption Song.
0:17:01 > 0:17:05And I suppose I was one of the first people to hear that song.
0:17:05 > 0:17:08# From the bottomless pit. #
0:17:08 > 0:17:12And it was a very, very sad moment for me.
0:17:12 > 0:17:14Very sad.
0:17:17 > 0:17:20Hi, girls. We can start now.
0:17:23 > 0:17:25OK, let's go.
0:17:25 > 0:17:28What you have to be careful of is you are constantly
0:17:28 > 0:17:29being in the back.
0:17:29 > 0:17:34You need to put yourself forward so you don't get in the shadow.
0:17:34 > 0:17:37Whatever you do, you are performing to me.
0:17:37 > 0:17:40Whatever you are doing, it is towards me, you understand?
0:17:42 > 0:17:43OK. OK.
0:17:43 > 0:17:47Yeah, head down slightly.
0:17:47 > 0:17:52OK. Great. Keep coming at me. Stop.
0:17:52 > 0:17:56Each member of the band has their own personality, obviously.
0:17:56 > 0:18:00So, it's a matter of getting and coaxing whatever it is
0:18:00 > 0:18:04that each person has, and capturing that in the photos.
0:18:04 > 0:18:08Let's go. Come on. Stop!
0:18:08 > 0:18:10Head down. Great.
0:18:10 > 0:18:15When I work it's a physical thing. I'm jumping around, moving around.
0:18:15 > 0:18:18Stay there. Stretch out more. Put that leg there.
0:18:18 > 0:18:20No, that leg there.
0:18:20 > 0:18:24And by doing that which is a natural process for me,
0:18:24 > 0:18:29it also in the same way makes my subject that much more active,
0:18:29 > 0:18:32not necessarily physically but internally, mentally,
0:18:32 > 0:18:37for them to project so it is a very physical scenario for me.
0:18:37 > 0:18:40Too much, too much. Yeah, OK.
0:18:40 > 0:18:43If you're doing a movie, you don't have to do that much
0:18:43 > 0:18:44but when doing stills,
0:18:44 > 0:18:48you really have to exaggerate everything to get that action.
0:18:48 > 0:18:52The thing about stills, you've always got to do that much more.
0:18:52 > 0:18:56It is a performance. Put it straight out.
0:18:56 > 0:18:59And then it's like a bridge, if you can. Yeah.
0:19:01 > 0:19:04But don't look like you're holding, come round the other side.
0:19:06 > 0:19:09Look at me with your eyes in the middle.
0:19:09 > 0:19:11Let her leg go. Let her leg go.
0:19:14 > 0:19:18Poke through, push through. Push through. That's it.
0:19:18 > 0:19:20And then you come through as well.
0:19:23 > 0:19:28OK, you're too low, come back up.
0:19:28 > 0:19:31OK, right. OK. Right.
0:19:31 > 0:19:33We will take a break.
0:19:42 > 0:19:44I didn't want to be a rock photographer, it wasn't my ambition.
0:19:44 > 0:19:47I wanted to be a war photographer.
0:19:47 > 0:19:50# I am an antichrist
0:19:50 > 0:19:54# I am an anarchist... #
0:19:54 > 0:19:55I was too young to go to Vietnam
0:19:55 > 0:19:58but when I worked with the Sex Pistols I found my own
0:19:58 > 0:20:02private war with the Sex Pistols because that was absolute chaos.
0:20:11 > 0:20:15Everything around them at that time was absolute madness.
0:20:15 > 0:20:21Everything exploded. It was like a time bomb, tick tick tick.
0:20:21 > 0:20:24And then, boom. And then suddenly it would kick off.
0:20:28 > 0:20:30I came to check them out because I was very
0:20:30 > 0:20:34interested in the band in terms of working with them.
0:20:34 > 0:20:38I wanted to see the band because I knew if I was able to work with the
0:20:38 > 0:20:42band, I would never see them again because I would be too busy working.
0:20:43 > 0:20:46Sid was the one that came up with the pogo.
0:20:46 > 0:20:48The band was on stage and started jumping up
0:20:48 > 0:20:51and down frenetically in a mad way.
0:20:51 > 0:20:55And then everything would just, whoosh!
0:21:01 > 0:21:05When I worked with them, I was right in the front.
0:21:05 > 0:21:07That's how I got all those shots.
0:21:07 > 0:21:12I used to wear a jacket with a hood to protect myself from the spitting.
0:21:13 > 0:21:15And also to get the shots...
0:21:17 > 0:21:21So not to get a blur I had to move with the crowd and so I was like...
0:21:22 > 0:21:27Whichever way the crowd moved, I moved. So that I wouldn't get blur.
0:21:27 > 0:21:29If you didn't go with the flow, you'd get hurt.
0:21:29 > 0:21:31If you keep static you would get hurt.
0:21:31 > 0:21:33You had to move, that kind of vibe.
0:21:35 > 0:21:39There was something about the Pistols that made you feel
0:21:39 > 0:21:41and know they were the one.
0:21:45 > 0:21:49John was a big reggae fan. And you saw those pictures of Bob Marley.
0:21:51 > 0:21:55And Virgin was looking for somebody to do pictures of the band
0:21:55 > 0:21:57and my name was on the list.
0:21:57 > 0:22:00And John was in particular saying, "Yes, let's meet up."
0:22:02 > 0:22:03It was kind of weird
0:22:03 > 0:22:07because we kind of knew each other without knowing each other.
0:22:07 > 0:22:11John grew up in Finsbury Park, I grew up in Hackney
0:22:11 > 0:22:15so when we met it was like, "Oh, yeah. You."
0:22:17 > 0:22:21It was like, hang about. OK, you are now part of us.
0:22:21 > 0:22:24And so from then I was with them 24/7.
0:22:27 > 0:22:30This is Sid's room after a night of depression.
0:22:30 > 0:22:34He absolutely destroyed the room.
0:22:34 > 0:22:39He took the TV off the wall, he smashed it,
0:22:39 > 0:22:44he ripped up the Bible, set it alight. He set his bed alight.
0:22:44 > 0:22:47He smashed the bathroom.
0:22:47 > 0:22:50He destroyed the room completely.
0:22:50 > 0:22:52It was like a bomb had hit it.
0:22:54 > 0:22:58In the morning, when the maid came, to clean the rooms,
0:22:58 > 0:23:01she walked in, she saw it, she ran out screaming.
0:23:01 > 0:23:05The manager turned up, then Malcolm turned up.
0:23:05 > 0:23:08Malcolm looked at the manager and said, "How much?"
0:23:08 > 0:23:10The manager gave him a figure.
0:23:10 > 0:23:13Opened his bag, paid him
0:23:13 > 0:23:18and then said, "Call the police when we've gone and also the press."
0:23:18 > 0:23:20That was Malcolm for you.
0:23:22 > 0:23:27This next shot now is also very famous. It is Sid and Nancy.
0:23:27 > 0:23:32In some ways, Sid, he was absolutely obsessed with Nancy.
0:23:32 > 0:23:37And you can see her saying to him, "You are bigger than them,
0:23:37 > 0:23:40"better than them." "No, I know."
0:23:40 > 0:23:43"What am I supposed to do?" Well, you know.
0:23:43 > 0:23:47She was always always like that. "Nnah, nnah, nnah!"
0:23:47 > 0:23:48And Sid was like, "I know."
0:23:53 > 0:23:55This shot was taken on a tour coach.
0:23:55 > 0:23:59What was bizarre about it was the fact basically there was only
0:23:59 > 0:24:05the band on there. And one other person. And myself.
0:24:05 > 0:24:11You can see Sid completely out of it doing one of his famous...
0:24:13 > 0:24:14Ha-ha!
0:24:18 > 0:24:19In some ways, I think
0:24:19 > 0:24:26I kind of changed the view of what rock pictures were about.
0:24:26 > 0:24:28What I was doing were studies.
0:24:28 > 0:24:33People, through my pictures, were able to see what a rock band life
0:24:33 > 0:24:34was really like.
0:24:38 > 0:24:41What I was giving was a real insight,
0:24:41 > 0:24:44a realism which they had never seen before.
0:24:48 > 0:24:52All the images I took was like I was never there.
0:24:53 > 0:24:58I had to immerse myself into that world of the whole movement
0:24:58 > 0:24:59and their lifestyle.
0:25:02 > 0:25:05The difference with working with a punk band today than
0:25:05 > 0:25:11the Sex Pistols is the fact with the Sex Pistols we were a bunch of
0:25:11 > 0:25:17young guys who just basically wanted more than what was offered to us on
0:25:17 > 0:25:20the table from when we left school, from what society had to offer.
0:25:22 > 0:25:26With the band today, a punk band today, there's much more
0:25:26 > 0:25:30on the table in terms of financing and what is to be gained so I think
0:25:30 > 0:25:34a lot of bands now are a lot more aware of what to gain and what to lose.
0:25:34 > 0:25:38There's a famous shot I did of Sid, I don't know if you've ever seen it
0:25:38 > 0:25:41where he's pointing it like a gun.
0:25:41 > 0:25:44That's what I'm saying. Pwchoo!
0:25:44 > 0:25:47So it's that kind of thing, use it like a weapon. Pwchoo!
0:25:48 > 0:25:53Pwchoo! Get any pose you want out of it but it's a weapon.
0:25:53 > 0:25:58It is a weapon. You understand? It's a weapon you want to use.
0:25:58 > 0:26:01I'm the one you want to pwchoo! Yeah?
0:26:09 > 0:26:11And what might be nice if you move in a bit tighter.
0:26:13 > 0:26:16Now we are rocking. Let's go.
0:26:17 > 0:26:20We get to this point where we come up with something...
0:26:20 > 0:26:24Do that again. More expression.
0:26:24 > 0:26:28And we get it and use it and we use it to get to another point.
0:26:30 > 0:26:31Can I get some music?
0:26:31 > 0:26:34To create what we get, what we normally get.
0:26:43 > 0:26:45I want it to be an experience,
0:26:45 > 0:26:49so we both walk away thinking, "That was something special."
0:26:52 > 0:26:56When I'm doing a shoot, I always know when I've got the shot, always.
0:26:57 > 0:27:03When I get that feeling, it is a very, very emotional feeling.
0:27:08 > 0:27:10OK. Finished.
0:27:14 > 0:27:18OK? Those last ones were really fantastic. They look awesome!
0:27:18 > 0:27:21So cool.
0:27:23 > 0:27:25You always know when it's the one.
0:27:25 > 0:27:29It's when you meet your lover, you know it's the one.