0:00:03 > 0:00:05HUM OF TRAFFIC IN BACKGROUND
0:00:08 > 0:00:10You don't take your best pictures in the studio.
0:00:12 > 0:00:13You do them in the streets.
0:00:18 > 0:00:19The rest is bullshit.
0:00:20 > 0:00:21And you know it.
0:00:25 > 0:00:28MUSIC: Be My Baby by The Ronettes
0:00:33 > 0:00:39# The night we met I knew I needed you so
0:00:40 > 0:00:46# And if I had the chance I'd never let you go
0:00:48 > 0:00:51# So won't you say you love me?
0:00:52 > 0:00:55# I'll make you so proud of me
0:00:55 > 0:01:00# We'll make them turn their heads every place we go
0:01:00 > 0:01:02# So won't you please... #
0:01:02 > 0:01:06Welcome to Harrodsburg, home of the 1%.
0:01:06 > 0:01:08Playground of the super-rich.
0:01:08 > 0:01:11Wicked! Whoa!
0:01:11 > 0:01:15I'm telling you, you wouldnae believe the things you see around here.
0:01:22 > 0:01:23Whoa!
0:01:25 > 0:01:27Yeah, take my picture. Go. There you go.
0:01:27 > 0:01:29Wow! You're beautiful.
0:01:29 > 0:01:30I love you!
0:01:47 > 0:01:49'Aye, so I come from Glasgow.
0:01:50 > 0:01:52'I joined the Army straight out of school.
0:01:53 > 0:01:55'When I left, I bought and sold cars for a bit
0:01:55 > 0:01:59'then I got into photography seriously about ten years ago.
0:01:59 > 0:02:03'I bought my first camera in Nepal when I was backpacking.
0:02:03 > 0:02:06'I took a lot of travel pictures and probably thought I was a bit of a
0:02:06 > 0:02:08'Martin Parr at the time.
0:02:10 > 0:02:12'When I started taking pictures in Knightsbridge,
0:02:12 > 0:02:13'I was doing people on the buses.
0:02:13 > 0:02:17'I'd read about how the average life expectancy in Kensington and Chelsea
0:02:17 > 0:02:20'was 87 for women and 84 for men.
0:02:21 > 0:02:25'But in The Calton, in Glasgow, it's 54 for men.
0:02:25 > 0:02:28'So I took the pictures of people on the buses in both places,
0:02:28 > 0:02:30'catching them at traffic lights, shooting through the window.
0:02:33 > 0:02:36'But Knightsbridge, it's like another world.
0:02:36 > 0:02:39'The people round here, the money, it's unreal.
0:02:43 > 0:02:47'There's sort of like a lot of human theatre and drama on the streets.
0:02:48 > 0:02:51'So I just came back shooting and shooting and shooting.'
0:02:56 > 0:02:58Look at her. Look, she's nice, isn't she?
0:02:58 > 0:03:00Do you like her?
0:03:00 > 0:03:02Beautiful!
0:03:02 > 0:03:03Aye, you look gorgeous.
0:03:08 > 0:03:09Probably that one.
0:03:09 > 0:03:10It's the recoil.
0:03:14 > 0:03:15MAN CONVERSES ON PHONE
0:03:16 > 0:03:19BLEEP
0:03:19 > 0:03:21So basically, you come to a bit like this.
0:03:21 > 0:03:24You always have the same aperture on, F-11,
0:03:24 > 0:03:27and a shutter speed controls the background.
0:03:27 > 0:03:31See, the aperture controls the amount of flash hitting the subject,
0:03:31 > 0:03:33so it's all set at manual, it's all set at 80 centimetres
0:03:33 > 0:03:36just under a metre and, actually,
0:03:36 > 0:03:38I can't see here because of the flash gun,
0:03:38 > 0:03:41so I actually just Tippex the markings on here
0:03:41 > 0:03:44and then that's a metre, that's two metres, that's 50 centimetres.
0:03:44 > 0:03:46You know what your shutter speed is,
0:03:46 > 0:03:47you know what the lighting's like.
0:03:47 > 0:03:49You keep going. And then something might happen
0:03:49 > 0:03:51and it's just out of the corner of your eye
0:03:51 > 0:03:52and that's when you get the good picture.
0:03:54 > 0:03:57Oh! We like this. Look, whaay!
0:03:57 > 0:04:01Oh, we like all the bags and look at all that, eh?
0:04:01 > 0:04:03Phwoaa!
0:04:03 > 0:04:04That's the sparkle.
0:04:04 > 0:04:07This is how these things work, because it's your preconceptions.
0:04:07 > 0:04:10She could be...she could be a billionaire.
0:04:10 > 0:04:13The thing about the money is, it's all out there.
0:04:13 > 0:04:14It's all on display.
0:04:14 > 0:04:17It's part of the whole show, you know.
0:04:17 > 0:04:18So I'm just capturing that, really.
0:04:21 > 0:04:23The area is changing, you know.
0:04:23 > 0:04:24The Sloanes, and the old money.
0:04:24 > 0:04:28They're all dying out and the new breed's coming in.
0:04:28 > 0:04:29They've got even more money.
0:04:29 > 0:04:31It's all crazy.
0:04:31 > 0:04:32Wow! I say, guys.
0:04:32 > 0:04:33Yeah, they're always here.
0:04:35 > 0:04:38Wow! Wow!
0:04:38 > 0:04:39Watch my toes!
0:04:40 > 0:04:42They're a bit too smiley, although I don't mind the smiley one.
0:04:42 > 0:04:43That's quite nice.
0:04:45 > 0:04:48Excuse me. I'm taking pictures here. You need to move.
0:04:51 > 0:04:53So, these photos. They're going to be in a book,
0:04:53 > 0:04:54it's going to be called Harrodsburg.
0:04:54 > 0:04:56That's my title for it, Harrodsburg.
0:04:56 > 0:05:00The Sunday Times ran something and they got Peter York to write about it.
0:05:02 > 0:05:04He's good, Peter. He knows more than most people
0:05:04 > 0:05:06about what's going on in Knightsbridge,
0:05:06 > 0:05:08so I asked him if he'd write something for my book.
0:05:15 > 0:05:18On the top of that block, famously,
0:05:18 > 0:05:20the most expensive flat in the world.
0:05:20 > 0:05:22- One Hyde Park?- One Hyde Park, yeah.
0:05:22 > 0:05:24Do you know that when you look,
0:05:24 > 0:05:27there's something like only six in the whole of all those flats that
0:05:27 > 0:05:29pay council tax.
0:05:29 > 0:05:33- They're all third homes, tenth homes.- Yeah, yeah.
0:05:33 > 0:05:35If you're here at night, there aren't a lot of lights on.
0:05:38 > 0:05:39Yeah. Lights out, London.
0:05:39 > 0:05:41Lights out, London, yes.
0:05:43 > 0:05:45The overwhelming...
0:05:46 > 0:05:48..feeling about...
0:05:49 > 0:05:52..what young Dougie here calls Harrodsburg
0:05:52 > 0:05:57is a certain kind of holiday shopping
0:05:57 > 0:06:02by people who seem to have absolutely limitless resources
0:06:02 > 0:06:07and have a very different style from the old Knightsbridge people
0:06:07 > 0:06:10and you can see that style.
0:06:10 > 0:06:16It's both nonchalant modest, yet fantastically bling.
0:06:20 > 0:06:22I just want to take the side bit of the glasses.
0:06:22 > 0:06:24There we are. Cool.
0:06:24 > 0:06:26You look beautiful.
0:06:28 > 0:06:30I mean, I could do them, but they would go crazy.
0:06:30 > 0:06:33Do you think I should do them? I've never ever done before.
0:06:33 > 0:06:35Wow-wee!
0:06:36 > 0:06:37Yay!
0:06:37 > 0:06:39- Oh, my God!- See you later.
0:06:41 > 0:06:45'The average asking price for a property round here is about 2.5 million.
0:06:45 > 0:06:47'I mean, 2.5 million quid.
0:06:47 > 0:06:49'You read the statistics about London property prices,
0:06:49 > 0:06:51'it's all boom time again.
0:06:51 > 0:06:53'That's what they keep telling us,
0:06:53 > 0:06:55'but you go to Glasgow and tell them Britain is booming...
0:06:57 > 0:06:59..they'll laugh their heads off at you.
0:06:59 > 0:07:01ENGINE REVS
0:07:01 > 0:07:02Show this to people...
0:07:04 > 0:07:06..in Liverpool, Newcastle and Glasgow.
0:07:06 > 0:07:08Show them what's going on. This is what you want to show them.
0:07:10 > 0:07:12They come here, spend the money and that's all right.
0:07:12 > 0:07:15I'm not bothered about them displacing the local residents,
0:07:15 > 0:07:17traditional residents, whatever you want to call them,
0:07:17 > 0:07:19with the mustard chinos and all that.
0:07:19 > 0:07:20I'm not bothered if they displace them.
0:07:20 > 0:07:24I mean, I'm not going to bleed purple pish out of my heart for them,
0:07:24 > 0:07:28you know what I mean. But I'm just showing what's happening,
0:07:28 > 0:07:30just, I'm just shining a wee bit of a torch on them, you know.
0:07:30 > 0:07:33It's like, you know, you don't shoot the messenger.
0:07:37 > 0:07:39'As far as other photographers go,
0:07:39 > 0:07:42'I suppose the one I admire the most is probably Martin Parr.
0:07:42 > 0:07:44'I mean, he was a big influence on me
0:07:44 > 0:07:46'when I first started taking pictures.
0:07:46 > 0:07:49'I've got to know him a bit now,
0:07:49 > 0:07:52'and he's bought 20 prints off me for his collection,
0:07:52 > 0:07:54'so I'm going to drop the last ones off to him today.'
0:07:54 > 0:07:56'Hello?'
0:07:56 > 0:07:57Morning, Martin. Dougie.
0:07:57 > 0:07:59Right, Dougie. Come up. How you doing?
0:07:59 > 0:08:01- Good. Good.- Come in.
0:08:01 > 0:08:02So, more prints, eh?
0:08:02 > 0:08:04More prints, Martin. The last five.
0:08:06 > 0:08:07Whoa. Nice.
0:08:09 > 0:08:13I love this one eye business and that light through there.
0:08:14 > 0:08:16Is that a flash, or a reflection, or what?
0:08:16 > 0:08:17I think it's more a light.
0:08:17 > 0:08:20- Cos it's more than a flash.- Mm-hm.
0:08:20 > 0:08:21And what's he dressed up as?
0:08:21 > 0:08:23Don't know! Some sort of prince or something.
0:08:23 > 0:08:25THEY LAUGH
0:08:25 > 0:08:26He maybe IS a prince.
0:08:26 > 0:08:27Yeah, maybe.
0:08:27 > 0:08:29Prince Farouq, or something like that.
0:08:32 > 0:08:34- I like the fact that you're in this. - I know, I know.
0:08:34 > 0:08:36- That's great. Don't you think?- I know, I know.
0:08:36 > 0:08:39I mean, was a guy like this OK about you shooting?
0:08:40 > 0:08:44Well, I just done it quick and he was doing a selfie and then, you know.
0:08:44 > 0:08:46That's good. I like the fact that you're in there.
0:08:46 > 0:08:48That's why I selected that one.
0:08:50 > 0:08:52He's got seven skins he's wearing.
0:08:52 > 0:08:55- Crikey!- Leather hat and gloves too.
0:08:55 > 0:08:57What is this? Three, I don't know.
0:08:57 > 0:08:59What is it, alligator or what?
0:08:59 > 0:09:00Some sort of reptile.
0:09:00 > 0:09:05- Four, five, six...- Totally disgusting, isn't it?- ..seven.
0:09:05 > 0:09:08Seven different skins he's wearing.
0:09:08 > 0:09:09He went a bit bonkers, that guy, actually.
0:09:09 > 0:09:11- Did he?- Yeah. Yeah, he had a bit of attitude.
0:09:11 > 0:09:16So, what happens then, when these people go bonkers? What do you say?
0:09:16 > 0:09:17Well, the last thing I'd do is delete it.
0:09:17 > 0:09:19But, you know, you just kind of walk on.
0:09:19 > 0:09:22It depends. Sometimes you just feel like standing your ground with them.
0:09:22 > 0:09:24But do people say, "Oh, I'm going to call the police"
0:09:24 > 0:09:27- and all that stuff? - Yeah, you get that sometimes.
0:09:27 > 0:09:30You go, "On you go. I'll give you the number - 999."
0:09:30 > 0:09:33You know, it's not any... THEY LAUGH
0:09:33 > 0:09:37- It's an occupational hazard, isn't it?- Yeah. Oh, definitely.
0:09:37 > 0:09:38Very sharp, that, isn't it?
0:09:38 > 0:09:43- Crikey. - That's probably about a 1/60th, 125,
0:09:43 > 0:09:45double flash arrests it little bit.
0:09:45 > 0:09:48- Double flash.- One at the top. One at the bottom.
0:09:48 > 0:09:50So you get the... That's how you get that,
0:09:50 > 0:09:53there's not any shadows around anything really, you know.
0:09:53 > 0:09:55Great stuff, Dougie. Thanks very much.
0:09:55 > 0:09:57Thanks, pal. No problem.
0:10:01 > 0:10:05I think the first thing you've got to be when you are going so close to
0:10:05 > 0:10:08people is absolutely bold and confident and, you know,
0:10:08 > 0:10:10he's just got the brash sort of attitude
0:10:10 > 0:10:13that cuts through all the shit and means you can go up to people.
0:10:13 > 0:10:18It's a very intimidating thing to do and a lot of these people won't like
0:10:18 > 0:10:21being photographed, because he couldn't give a shit, really, in a sense,
0:10:21 > 0:10:23if some posh Arab is going to tell him off.
0:10:23 > 0:10:24He'll just sort of shrug it off.
0:10:24 > 0:10:27You know, it's just street life, isn't it? It's in your face.
0:10:27 > 0:10:30It's brash, it's loud. And therefore it's absolutely appropriate
0:10:30 > 0:10:32for the times that we live in.
0:10:35 > 0:10:37'When I first started taking pictures,
0:10:37 > 0:10:39'I wasn't really trying to make a living.
0:10:39 > 0:10:41'I was just taking pictures of my friends and stuff that was happening
0:10:41 > 0:10:44'roundabout Shoreditch where I live.'
0:10:44 > 0:10:45That does say Brick Lane.
0:10:47 > 0:10:48That's Gary, in fact. Let's see Gary.
0:10:48 > 0:10:50Here's my mate. This is Gary's club.
0:10:50 > 0:10:53- BBC Four. Doc on me.- Oh, is it?
0:10:53 > 0:10:56- For a doc.- Oh, that must be an interesting afternoon's work.
0:10:57 > 0:10:59What's the programme called?
0:10:59 > 0:11:00What Artists Do All Day.
0:11:00 > 0:11:01THEY LAUGH
0:11:01 > 0:11:03See you later. Bye.
0:11:06 > 0:11:08My first book was Shoreditch Wildlife.
0:11:09 > 0:11:12I used to take my camera out every night and go partying.
0:11:17 > 0:11:23Up all night at parties and then they're looking for somewhere to go after it.
0:11:23 > 0:11:26All day Sunday, people would be lying on the floor.
0:11:26 > 0:11:27It was all crazy times.
0:11:29 > 0:11:33There was a lot of drugs. And mostly cocaine was about then.
0:11:33 > 0:11:34It still is, but, you know, I don't...
0:11:34 > 0:11:36It's nothing to do with me any more.
0:11:41 > 0:11:43That's where I took the bagel shop picture with that mirror.
0:11:43 > 0:11:45I was just in there getting a bagel.
0:11:45 > 0:11:48I saw a taxi driver with a cabbie's badge on.
0:11:48 > 0:11:51I just took a him as he was looking into the mirror.
0:11:51 > 0:11:52Maybe two in the morning or something.
0:11:58 > 0:12:01That's where I shot that one where she was in the burqa,
0:12:01 > 0:12:02looking to buy a dress.
0:12:07 > 0:12:10And this, before it got built, is that picture, you know, the old guy,
0:12:10 > 0:12:13and he looks like the...old hipster.
0:12:16 > 0:12:17So I just followed him.
0:12:19 > 0:12:21That's where you get them off kilter.
0:12:21 > 0:12:23But it was crazy, because one time
0:12:23 > 0:12:25I shot someone outside the bagel shop.
0:12:25 > 0:12:27A week later it was on CNN.
0:12:27 > 0:12:29You know, all these pictures were on CNN.
0:12:29 > 0:12:30I'd only shot it a week before.
0:12:30 > 0:12:32It's crazy, you know, how things happen.
0:13:18 > 0:13:19That's what you're looking for.
0:13:45 > 0:13:47I used to buy and sell cars back in Glasgow, years ago,
0:13:47 > 0:13:48when I got out of the Army.
0:13:49 > 0:13:52Then I moved on to buying and selling camper vans.
0:13:53 > 0:13:56You have to find a way how you can fund a project that you're doing,
0:13:56 > 0:13:58so for me, it was through the camper vans,
0:13:58 > 0:14:00but also I could go to Blackpool,
0:14:00 > 0:14:02pick them up there and bring them back.
0:14:02 > 0:14:04So it was like a free trip.
0:14:06 > 0:14:09Blackpool was the first sort of like one where I said I think this could be a book.
0:14:09 > 0:14:12It could be a story, you know, I can keep shooting.
0:14:13 > 0:14:15Ended up in 30 trips to Blackpool.
0:14:16 > 0:14:17This is one of the pictures here.
0:14:19 > 0:14:22It was like a school, opera, pantomime, wi' them all.
0:14:22 > 0:14:25There's that one and this one and the cheeky one and stuff, you know.
0:14:25 > 0:14:28In every group there's a cracker though.
0:14:28 > 0:14:31And the bride in that, she looks like a girl-next-door type.
0:14:31 > 0:14:33I quite like her.
0:14:33 > 0:14:35And I seen the Subaru tattoo.
0:14:35 > 0:14:37Turbo Ted! HE CHUCKLES
0:14:37 > 0:14:39And he goes by with the dog.
0:14:39 > 0:14:41So by then I'd probably flashed at them a couple of times.
0:14:41 > 0:14:43That's how they're starting to get annoyed.
0:14:43 > 0:14:45You can see some of them going, "Who's he?" And that.
0:14:45 > 0:14:48And yeah, it helps if they're a bit drunk,
0:14:48 > 0:14:51you know what I mean. You don't know if they're drunk, but you just take it that they're drunk.
0:14:51 > 0:14:54Same with me. Sometimes I would be.
0:14:54 > 0:14:57You know, I've been here paralytic drunk before here as well.
0:14:57 > 0:14:59Cos if you're going up to take pictures of them, you know,
0:14:59 > 0:15:02it's just kind of like going up asking somebody to dance in a bar.
0:15:02 > 0:15:04If you've had a couple of drinks, it's easier.
0:15:04 > 0:15:06We're going to cut up here.
0:15:06 > 0:15:08Basically just walking to the... BINGO CALLER ON PA
0:15:10 > 0:15:1210p-a-go bingo. 10p.
0:15:12 > 0:15:15What can you buy for 10p?
0:15:17 > 0:15:19There's Eddie there. Look, talk of the devil.
0:15:21 > 0:15:24Eddie? EDDIE LAUGHS
0:15:24 > 0:15:25Hello, Dougie. How are you doing?
0:15:25 > 0:15:27- Good, good.- Nice to see you.
0:15:27 > 0:15:28This is a real doorstep challenge.
0:15:28 > 0:15:31- This isn't set up. - How are you doing, buddy? Nice to see you again.- Good.
0:15:31 > 0:15:34- Are you all right?- Yeah. - What can we do for you, Dougie?
0:15:34 > 0:15:36Are you just having a wee day out in Blackpool, are yous?
0:15:36 > 0:15:38It's my new book. My new story.
0:15:38 > 0:15:40Well, your last one was excellent.
0:15:40 > 0:15:42- Oh, right. That's good. - Really was excellent.
0:15:42 > 0:15:44- Yeah, yeah.- Yeah, yeah. So, you approve it, then?
0:15:44 > 0:15:45Very much so. It was very good.
0:15:45 > 0:15:48I don't know if the council would have been too happy about it, but...
0:15:48 > 0:15:49- No...- It was the truth.
0:15:49 > 0:15:51It was the truth. You were really showing the truth.
0:15:59 > 0:16:03# Every year when summer comes round
0:16:03 > 0:16:06# Off to the sea I go... #
0:16:06 > 0:16:07Here you go, bride-to-be.
0:16:11 > 0:16:15# I said when it was done, is that supposed to be me?
0:16:15 > 0:16:18# You properly mucked it up, the only thing I can see
0:16:18 > 0:16:21# Is me little stick of Blackpool rock. #
0:16:22 > 0:16:25You know, I always thought the pictures
0:16:25 > 0:16:26were a little bit like Beryl Cook.
0:16:26 > 0:16:29End of the pier, kind of like, saucy postcards, you know?
0:16:31 > 0:16:34Blackpool's like Las Vegas with a Victorian twist.
0:16:38 > 0:16:40Southerners, they don't come here.
0:16:40 > 0:16:43Everybody who comes here is all from... They come from Wales
0:16:43 > 0:16:45and a lot of them come from Glasgow or West Coast
0:16:45 > 0:16:48and they come from all your Durhams, Newcastles
0:16:48 > 0:16:50and Manchester and Liverpool.
0:16:50 > 0:16:51WOMAN LAUGHS
0:16:58 > 0:16:59Famous.
0:16:59 > 0:17:01PROJECTION SOUNDTRACK
0:17:09 > 0:17:11Are you the bride?
0:17:14 > 0:17:17WOMEN LAUGH
0:17:17 > 0:17:20This'll be a good one.
0:17:20 > 0:17:21Blow some bubbles? Blow some bubbles.
0:17:27 > 0:17:29I love these colours.
0:17:30 > 0:17:32Let's see. WOMAN LAUGHS
0:17:41 > 0:17:45This is where I took a picture of the lassie with the skint knee.
0:17:45 > 0:17:46She was just right here.
0:17:46 > 0:17:50The kebab shops are good, cos they are really bright at night
0:17:50 > 0:17:54and you can switch the flash off and just shoot through the windows.
0:17:54 > 0:17:55Just use the natural light.
0:18:00 > 0:18:03I used to go in at night and hunt about for pictures, you know.
0:18:03 > 0:18:06That's about the only kebab shop I've ever been barred from, in my life.
0:18:12 > 0:18:13Someone dressed as a crayon.
0:18:14 > 0:18:17You wonder where the green ones and the blue ones went.
0:18:17 > 0:18:18The cyan and the yellow.
0:18:18 > 0:18:20Look - you've got the pink and the red left.
0:18:23 > 0:18:27I just need to be a wee bit ahead of the picture, to be in the moment, you know?
0:18:32 > 0:18:35I know when they're going to fall down, skin their knees,
0:18:35 > 0:18:38get the tits out, before they're going to do it. You know?
0:18:38 > 0:18:40It's like I've seen everything.
0:18:40 > 0:18:43I only know what they're going to do next because I've done it myself.
0:18:55 > 0:19:01# Hey, baby, ooh-aah! #
0:19:01 > 0:19:05What I like when they're looking at you is kind of, like, the fourth wall,
0:19:05 > 0:19:07you can see them pointing and saying something to you.
0:19:07 > 0:19:10That's what I like. Where you can see people...
0:19:10 > 0:19:14expressions, emotions, you know, like, talking to you.
0:19:14 > 0:19:16What's up?
0:19:17 > 0:19:19But anyway, let's go.
0:19:33 > 0:19:36LETTERBOX RATTLES
0:19:36 > 0:19:37- Morning.- Morning, pal.
0:19:38 > 0:19:41- There we go. See?- Bye!
0:19:42 > 0:19:43More flash guns.
0:19:43 > 0:19:45You can't have too many flash guns.
0:19:50 > 0:19:52I've broke about four in the last couple of weeks.
0:19:52 > 0:19:53These are all the dead ones.
0:19:55 > 0:19:58I used to get them for about £10 on eBay and now they've went up to about 20.
0:20:02 > 0:20:05Yeah. These are all old dead ones here, as well.
0:20:05 > 0:20:07Usually what I do is end up gluing them,
0:20:07 > 0:20:10it's like welding so they end up like that, with superglue.
0:20:10 > 0:20:12Cos the bits break easy.
0:20:17 > 0:20:19I know everything about these flash guns, although, you know,
0:20:19 > 0:20:20I break that many of them.
0:20:20 > 0:20:22It's not working.
0:20:22 > 0:20:24It's another 20 quid.
0:20:26 > 0:20:30It's all money. It's, like, if one of these cables go, that's 45 quid.
0:20:30 > 0:20:34HE EXHALES SLOWLY
0:20:39 > 0:20:42That's superglued, then we'll be away, Jack.
0:20:43 > 0:20:45So we're going up to gay Knightsbridge and Mayfair and that.
0:20:45 > 0:20:47Surprise the day, ain't we?
0:20:48 > 0:20:50Eh?
0:20:50 > 0:20:53I'm starting to wonder is that me, an artist, now? That's good.
0:20:53 > 0:20:56Because you're here, now I can really call myself an artist, I think.
0:20:58 > 0:21:01I don't know... I'm just a photographer really, aren't I?
0:21:03 > 0:21:07Not exactly down on my luck, but not exactly making hundreds of money or anything,
0:21:07 > 0:21:08so maybe I am an artist.
0:21:15 > 0:21:19'I've been working on the Harrodsburg project for a 2.5 years now.
0:21:19 > 0:21:21'I've done about 70 trips up to Knightsbridge.
0:21:21 > 0:21:24'I've taken thousands of pictures.
0:21:24 > 0:21:26'It's probably time to wrap it up.
0:21:26 > 0:21:30'But, you know, there's always one more trip, one more picture to be had.'
0:21:31 > 0:21:33This is kept all like that for horses,
0:21:33 > 0:21:35even though you can't see any horses.
0:21:35 > 0:21:38So one time, when there had been old money
0:21:38 > 0:21:40and they'd have been going up and down on horses
0:21:40 > 0:21:45instead of going up and down in Bentleys and Ducatis and,
0:21:45 > 0:21:47I don't know... Ducati's a motorbike, isn't it?
0:21:52 > 0:21:53Stop!
0:21:58 > 0:22:00What is it?
0:22:00 > 0:22:03No? For what?
0:22:03 > 0:22:05See you later.
0:22:05 > 0:22:06Go, go, go, go.
0:22:07 > 0:22:08I don't listen to them.
0:22:08 > 0:22:12They're just going to say, "Oh, give me your number, please," and stuff.
0:22:12 > 0:22:13I don't know.
0:22:21 > 0:22:22See these ones on the double lines.
0:22:22 > 0:22:24What do you do with them on the double lines?
0:22:24 > 0:22:28Do you lift them ever? See, there's a big Bugatti there, are you allowed to lift them?
0:22:28 > 0:22:30But do you lift them?
0:22:32 > 0:22:33Why? Cos you'd damage them?
0:22:33 > 0:22:37Because if you damage a wing on a Bugatti, it's £1.5 million.
0:22:37 > 0:22:38It's not worth his, you know?
0:22:44 > 0:22:46The new money people own the Ferraris and Bugattis.
0:22:46 > 0:22:49They seem to hate getting their picture taken.
0:22:49 > 0:22:51They certainly don't stop and chat.
0:22:51 > 0:22:54Some of the old eccentrics that I snap, you know,
0:22:54 > 0:22:56they don't seem to mind so much.
0:23:01 > 0:23:04So, what's with the out-to-lunch nails, Neville?
0:23:04 > 0:23:10Everybody thinks it's an affectation, but the reality is I'm an artist.
0:23:10 > 0:23:11I work with my hands.
0:23:11 > 0:23:14A lot of time I'm working with paints and aerosol -
0:23:14 > 0:23:16black and dark colours,
0:23:16 > 0:23:21so all of that paint gets up and under my nails and just looks gross.
0:23:22 > 0:23:24It's just a bit of self expression, really,
0:23:24 > 0:23:27in this rather bland world we live in.
0:23:27 > 0:23:29Do you like the photographs?
0:23:29 > 0:23:31I'm not telling you!
0:23:32 > 0:23:35No, I thought your photographs were quite fun.
0:23:35 > 0:23:37I mean, you're obviously...
0:23:37 > 0:23:38you like to go a bit edgy, don't you?
0:23:40 > 0:23:42You're trying to rattle a few cages.
0:23:42 > 0:23:44You try to provoke a little bit.
0:23:44 > 0:23:45There's that bit of that in there.
0:23:45 > 0:23:46But do you think they're racist at all?
0:23:46 > 0:23:51- The pictures?- You're showing it as it is and, let's face it,
0:23:51 > 0:23:53all the old school people, all the old, arrogant,
0:23:53 > 0:23:55English people that used to go there,
0:23:55 > 0:23:58that generation is dying out now.
0:23:58 > 0:24:01As interesting as some of them may be.
0:24:01 > 0:24:05And now it's all different wealth from different countries, isn't it?
0:24:05 > 0:24:07So, I think you're just...
0:24:07 > 0:24:10It's like reportage what you're doing, really, isn't it?
0:24:10 > 0:24:11It's reportage in an art format.
0:24:12 > 0:24:15- How big's your legal team, Dougie? - Hey, you're looking at it.
0:24:22 > 0:24:25Hello. Can I take your picture?
0:24:34 > 0:24:36When I studied photojournalism for a year,
0:24:36 > 0:24:39one of the things when they looked at your portfolio to get in
0:24:39 > 0:24:41was you could see that you could get near people
0:24:41 > 0:24:43and that's something even a lot of photojournalists can't do,
0:24:43 > 0:24:45they can't go near people.
0:24:46 > 0:24:48Without them seeing them taking a portrait.
0:24:48 > 0:24:51You have to be able to get near people to take pictures.
0:24:51 > 0:24:55There's a point where you're in the picture, when you get that close,
0:24:55 > 0:24:59you are in it, rather than just here, looking at it -
0:24:59 > 0:25:01you kind of come in it.
0:25:08 > 0:25:11- Can you delete it?- No. Bye.
0:25:12 > 0:25:16- Hey. That's private property! - You're not allowed, OK.
0:25:16 > 0:25:19- OK?- You're on video.
0:25:19 > 0:25:22Hey. You're on video here.
0:25:24 > 0:25:28Sorry. Hey, you're on video, you assaulted me.
0:25:28 > 0:25:30You grabbed this. You'd better run away.
0:25:31 > 0:25:34We're going to call the police.
0:25:34 > 0:25:35Well, bye, then. Go and do it.
0:25:39 > 0:25:40Cheerio. Bye.
0:25:52 > 0:25:54The whole project isn't about Arabs.
0:25:54 > 0:25:56It isn't about women.
0:25:56 > 0:26:00It's just that the women go shopping in these places more than men do.
0:26:00 > 0:26:02I'm not picking on women, but women do photograph better.
0:26:02 > 0:26:05Older women photograph the best,
0:26:05 > 0:26:07then younger women and then older men,
0:26:07 > 0:26:10and then younger men. That's what I think, anyway.
0:26:12 > 0:26:15There's a lot of them documentaries out there that are poverty porn
0:26:15 > 0:26:18and I think that this is like an antidote to it.
0:26:18 > 0:26:20To me, this is like seeing it from the other side.
0:26:22 > 0:26:24I'm not an activist, you know?
0:26:24 > 0:26:25That's up to other people.
0:26:25 > 0:26:28You know? Just show the pictures and they can decide.
0:26:33 > 0:26:35DOORBELL RINGS
0:26:36 > 0:26:39Hi, Dougie. How are you?
0:26:39 > 0:26:41- Good, good. Book edit day.- Yeah.
0:26:41 > 0:26:42First edit.
0:26:43 > 0:26:45I think that Dougie is the best
0:26:45 > 0:26:49street photographer working at the moment worldwide.
0:26:49 > 0:26:54- There are some that fit into documentary...- Yeah.
0:26:54 > 0:26:57..but actually what's interesting is not really that,
0:26:57 > 0:26:59it's the portraits.
0:26:59 > 0:27:03That's great. That's great, of course.
0:27:03 > 0:27:07A street photographer needs to be very curious about people.
0:27:07 > 0:27:10- That one I love.- You like that one?
0:27:10 > 0:27:14Yep. They are a part of the photograph.
0:27:14 > 0:27:16They're not just voyeurs.
0:27:16 > 0:27:20'Although they are taking pictures that are sometimes a little cruel,
0:27:20 > 0:27:23'they're not doing it out of cruelty.
0:27:23 > 0:27:27'They are doing it out of curiousity
0:27:27 > 0:27:29'and fascination with people.'
0:27:29 > 0:27:31I mean, I love her.
0:27:33 > 0:27:35- So, we've got a book then. - We're more or less there.
0:27:35 > 0:27:37Yeah, no. Happy. It's looking brilliant.
0:27:38 > 0:27:44For me, a great photographer, an interesting person
0:27:44 > 0:27:47and someone I think who is going to be around for a long time.
0:27:51 > 0:27:53It's on a disabled bay.
0:27:54 > 0:27:55I don't think he's got a disabled badge.
0:27:55 > 0:27:57MUSIC: Rubber Biscuit by The Chips
0:28:06 > 0:28:08Can you kiss the dog? Do you kiss the dog?
0:28:11 > 0:28:13Look. He doesn't want to be kissed, here. Look.
0:28:28 > 0:28:29Wow, man. That's some car.
0:28:29 > 0:28:32Is that a Mercedes? Nice one, innit?
0:28:32 > 0:28:33I'd rather have that.
0:28:33 > 0:28:37That's my dream. That's how I started by selling camper vans.
0:28:37 > 0:28:40If I was still doing that, I'd be a millionaire, instead of...
0:28:40 > 0:28:42That or packing shelves.
0:28:42 > 0:28:44Packing shelves, I'd make more money.