Elizabeth Berkley, Santa Monica 1999.

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Saturday, 30 April 2011 I photographed the star of the (much maligned) film Showgirls in the southernmost penthouse suite on the top floor of the Hotel Shangri-La in Santa Monica.

It was a favourite location of mine because the management of the hotel were relaxed about photography, there was a great view of the Pacific and almost 180 degrees of natural light in the bedroom. It was clearly a favourite of several other people too.  The denouement of ‘White Men Can’t Jump’ was filmed in the same suite and one the guys working in the hotel told me that Helmut Newton and Herb Ritts had both shot there.  So the photographic vibes were excellent.

Poly Styrene, Bhaktivedanta Manor 1982.

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Saturday, 30 April 2011 RIP Mari Elliott aka Poly Styrene.  This is a previously unseen photograph of her taken at Bhaktivedanta Manor in Hertfordshire. It was commissioned by The Face magazine.

It was the one the few times I ever met her but she always struck me as being warm, friendly and so full of life.  53 is just way, way too young.

South Central, Los Angeles 1996.

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Wednesday, 20 April 2011 Raymond Chandler said it was "a city with no more personality than a paper cup".  Clive James called it "paradise with a lobotomy".  Dorothy Parker famously called it "seventy two suburbs in search of a city" and Frank Lloyd Wright said that "if you tilted the whole country sideways, Los Angeles was the place where everything loose would fall".

It’s been the constant butt of generations of American comedians since the early years of the last century, when it was little more than village.  Film makers like Woody Allen and Mel Brooks snigger and make jokes about it, and even actors like Harrison Ford, that owe their whole livelihood to the place, deride it, refuse to live there and spend as little time in the city as possible.

I love LA.  I don't mean that in a sarcastic Randy Newman type way, I mean I genuinely love being there.  But one thing that I've never quite understood is why most Americans seem to hate LA so much?  You hardly ever hear an American ever say a good word about LA, whether or not they've ever actually been there.  Google will turn up an enormous number of examples of famous Americans being snarky about Los Angeles and they almost always seem to me to be cliches.

And not only Americans.  Every time I hear a British actor talking about living or working in Los Angeles, they always have something rude to say about the place.  It's almost always rude and almost always very ill-informed.

Mind you, not even the Los Angeles Tourist Board always gives a very good account of the place.  In the mid '90s, many years before Google was invented, I was commissioned to write and photograph a travel article about Los Angeles and I was determined to focus on the city's hidden gems - if I could find some.  I called up the Los Angeles Tourist Board and asked them whether, other than the Watts Tower, there was anything south of Wilshire Boulevard that could possibly be of any interest to a tourist?  I got a straight answer.  "No".

In that particular case, they were probably right.   Only an idiot would write an article advising tourists to go wandering round parts of South Central, Watts, Compton or the like, and I certainly didn't do so.  But there are definitely places of great interest for a music fan in those parts - the motel where Sam Cooke was shot, for instance - and for a lover of Americana, there are some wonderful, fifties style, car washes and bowling alleys.

And for a keen photographer, there is an awful lot of subject matter.

Over the last 24 years, I guesstimate that I've taken more photographs in Los Angeles than I have in any other city, even including London, the place I was born and have lived all my adult life.  I've been to Los Angeles close to a hundred times and every time I drive up  from the airport or over the hills coming from the North or East, I experience a frisson of excitement as I see the downtown skyscrapers through the haze in the distance.  And every time, I feel genuinely glad to be back.

I've loved LA almost from the first moment I got there.  I say "almost" because it wasn't quite that way the first time.  I first went there in '87 to shoot a bunch of West Coast rappers for Island Records.  They put me up in the Beverley Hilton.  Ronald Reagan was still President and despite owning a house in nearby Bel Air, he was staying in a room on the floor below me.  So there were secret service agents everywhere 24/7.  There was a police car on the roof of the building opposite, facing directly, or so it seemed, into my window.  Also, rather bizarrely, some of the hotel staff were wearing rubber Ronald Reagan masks, one assumed as some sort of wacky tribute. I wasn't able to go out for a walk, especially at night, without being trailed by cop cars or being stopped and asked where I thought I was going.  I've come to realise, this experience wasn't at all typical.

One reason why I think I love LA so much is that I'm from the first generation of ordinary kids who grew up with TV's in their homes.  And so much of that early commercial TV was filmed in and around LA.

77 Sunset Strip, Dennis The Menace, Bewitched, The Lucy Show, Perry Mason, The Beverley Hillbillies, The Dick Van Dyke Show, The Man from U.N.C.L.E., The Monkees, Mr Ed.

There were many others and it's quite a long list.  It didn't matter that most of those shows were so studio bound that you'd only get a glimpse of a genuine, real life street once in every half a dozen episodes.  Something of the spirit of the place existed in those shows and it somehow entered my DNA.  To a kid growing up in a grey, dreary, postwar London, that still had bomb sites everywhere and the occasional coal age pea-souper, Los Angeles seemed incredibly exotic.

And in later years, as I grew older (and maybe stopped watching so much TV) it struck me that a lot of the people I most admired had either lived or created some of their best work in Los Angeles.

Marilyn Monroe, Frank Sinatra, Neil Young, Joni Mitchell, Tom Waits, Herb Ritts, Helmut Newton, Gary Winogrand, Charles Bukowski, James Ellroy, the aforementioned Raymond Chandler...

I won't go on but it's another very, very long list.

After 35 years (and counting) of taking photographs, as much as I've been able to deduce anything about my photography at all, I've worked out that what I'm inspired by more than anything else is (i) being able to evoke a specific sense of place and (ii) sunshine.

And that's why I love LA.

Spike Milligan, Bayswater London 1995.

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Sunday, 3 April 2011 I photographed Spike Milligan in the Orme Court office which he’d shared for many years with Eric Sykes.

When we met, I said, not unnaturally, “Hi, how are you?” To which he replied: “Why do you want to know, are you a doctor?” This was a line he’d often used but, since he said it without a smile, one wasn’t completely sure whether it was designed to amuse or disarm. He certainly seemed more than a little prickly and, by his own estimation, he’d been “fucking mad” his whole life. In my photos he didn’t look particularly happy but, of course, his life-long manic depression was well documented.

Sometimes a photographer will have to tiptoe around a subject somewhat and that was certainly the case here. But one could cut a guy like Spike a fair amount of slack. He was a complete comic original and had changed the face of comedy in his time.

Apart from that, he was my father’s favourite comedian and that’s certainly good enough for me.

Southend Seafront, Spring Bank Holiday 1979.

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Tuesday, 29 March 2011 As I trawl back through my archive, I often come across photographs I don't specifically recall taking.

The above being just one example.  It was taken on Southend Seafront during the Spring Bank Holiday in 1979.  I'd come down on the train from London with a group of about 50 skinheads but I found ample time during the day to wander round and photograph other young people.  Such as a group of rock n' roll fans (in those days often known as either 'rockers' or 'teds') assembled outside the Minerva pub, next to the Kursaal amusement park.

The young girls in the photograph look to me to be about 14.  One of them has a badge on her jacket that reads 'Vintage Rock & Roll Appreciation Society.'  She also had the words 'teds' written on both shoes.  Even in 1979 they must have seemed awfully young to be fans of music genre which was at it peak in the late '50s.

I'm very pleased I took photographs like this at that time but I'd certainly think twice about doing so now.  These days, the overly protective spirit of the times doesn't seem particularly conducive to photographing young people one doesn't know in the street.

How would modern society treat great photographers like Cartier-Bresson, Bert Hardy, Diane Arbus and Robert Doisneau, who all made a good part of their careers out of photographing kids and young people in the street?

I don't really know but I fear it would be a lot harder now than it was when they were alive.

Chrissie Hynde, Soho 1990.

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Tuesday, 29 March 2011 In the late '70s I was working in an ad agency that was slap bang in the middle of Soho and through the first floor windows of said agency, we had a front seat view of the rich pageant of Soho life only a few feet below.

The agency was only about 50 yards away from the passage next to Raymond’s Review Bar and we were able to observe the prostitutes, armed policemen, con men, clip girls, drunks, junkies, glue sniffers and all manner of street people. These types were very thick on the ground in the Soho of the '70s.

One got very used to seeing some of them. There was one guy I used to see a lot.  A dyed-black haired, lanky twerp, normally dressed from head to toe in leather, who obviously thought of himself as some sort of covert rock star. He also wore eye-liner. He always looked totally messed up, emaciated and completely out of it.

It was not always an appealing sight. I remember being particularly appalled by seeing the lanky twerp walking through Soho market with his scrotum hanging out of a hole in his trousers. He seemed totally oblivious to this.

Working right in the middle of Soho did have it's advantages though. My office was a 45 second jog away from the best second hand record shop in the country - Cheapo Cheapo - and every Wednesday morning, at about 11.00 o’clock, the new review copies would arrive and be put straight out into the racks.

I was, by this time a voracious reader of both Sounds and NME and my heroes were Charles Shaar Murray, Nick Kent and Danny Baker.  I pretty much bought everything they gave a decent review too.

So, every Wednesday at exactly 10.55, I'd make an excuse at work and run down to Cheapo Cheapo to buy, at about half the RRP, some of the records that had been favourably reviewed in the previous weeks rock papers.  I didn't realise it at the time but there was every likelihood these were exactly the same copies that had been so reviewed.

I'd often see the lanky twerp hanging about Cheapo Cheapo at about the same time as me and I assumed he'd worked out what time the review copies arrived too. I always tried to make sure I got to the best records before he did and, for some strange reason, I always seemed to.

I'd been doing this for a few years during the late ‘70s.  Until eventually I got the sack from the agency, became a photographer and I met the NME writer Cynthia Rose.  Through her, I got a crack at working for NME myself.

One day when we were both hanging about Virgin Records, in Oxford Street, she introduced me to my hero, the writer Nick Kent.  And I recognised him as the lanky twerp. The very same lanky twerp that I'd seen rather too much of once before.

(And so it dawned on me that he hadn't been hanging about Cheapo Cheapo waiting to buy the records but rather selling them the ones I'd subsequently been buying).

The above story is just an excuse to recommend Nick Kent's fantastic book 'Apathy For the Devil' which is a '70s memoir of his time as a rock writer and it has some absolutely fantastic stuff about the Rolling Stones, Iggy Pop and the Sex Pistols.  It's just about my favourite rock book since his last one 'The Dark Stuff.'

I don't have a photograph of Nick Kent.  But his book has quite a lot about the time when he lived with Chrissie Hynde and so I've used a photograph (detail) of her.

Coincidentally it was taken almost right outside Cheapo Cheapo.

And if you should ever read this Nick, I apologise for once calling you a twerp.

http://www.faber.co.uk/work/apathy-for-devil/9780571232857/

John Galliano, Soho 1985.

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Thursday, 17 March 2011 I'm afraid I don't have anything intelligent or perceptive to write about the predicament John Galliano currently finds himself in.  I don’t want to kick the bloke when he’s down but if you’re going to go around hurling racist insults at people, whether drunk or not, you deserve everything you get and probably more.

This is a previously unpublished photograph of John Galliano when he was still a student at Central Saint Martins art school.

I photographed him at the time of his degree show when there was  already a considerable buzz about him in the fashion world.  He was the undoubted star of his year.  The photo was taken in the alleyway at the rear of the building in Charing Cross Road and shows him sitting on large blocks of wood waiting to be hewn by the fine art students.

Alexei Sayle, London 1982.

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Thursday, 17 March 2011 After I became a professional photographer, Alexei Sayle, the Liverpudlian comedian and writer, was the first famous person I got to know quite well.

In 1980, my 'Skinheads' photography show had gone to Exeter University and the night I went down for the opening, Alexei played a gig there. 

He went down extremely badly that night, because all the students took him at face value.  At that time, his stage persona was that of a cockney wide boy, in a tight mohair suit and a pork pie hat, and a lot of his act was aimed directly at the students themselves.  So eventually he ended up by just standing on stage hurling insults at them.

Afterwards we got talking and I immediately warmed to the guy because he was the complete opposite of his stage persona.

Off stage he was thoughtful, softly spoken and quite charming.  And extremely funny.  A few months later I got commissioned to photograph him by the Face magazine and we became friends.  This shot from that session was later used on the cover of his first book ‘Train To Hell.‘  I also shot the cover for his 1985 record 'Didn't You Kill My Brother' where we parodied the famous David Bailey shot of the Kray Twins (when I can find that one I’ll post it here too).

People often say that off stage, comedians are rather dour and depressing characters.  I've photographed many and seldom found that to be the case.  I think it's a bit of a tired cliche.  In my opinion, it's just about the last thing you could ever say of Alexei Sayle.

X, Kensal Rise, London 1984.

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Wednesday, 9 March 2011 I decided to post this photograph because it's a perfect example of the kind of photograph that no one really has to take any more. At least, I don't need to.

It's an unpublished photograph of the the Los Angeles punk band X.  It was taken in 1984 and it was commissioned by The Face magazine.

It was in the early years of my career as a professional photographer and I was still finding my feet stylistically.  I used to try incredibly hard in those days, maybe too hard.  I often used to sketch out several ideas and show my subjects and ask them to pick one.  Or I would spend ages driving around town trying to scope out the perfect location for the photos.

In the case of the photo above, I'd found this building in North West London that had these old metal trusses running through it and the end parts were in the shape of 'x's.  I met the band at the offices of their record company, in Central London, and persuaded them to let me drive them to this location, about half an hour's drive away.

Always the press officer at that particular record company (WEA) would say to me "why don't you do the photos on the roof of our building."  I presume she said this to every photographer that ever came to her office to shoot a WEA band.  I think X were just happy to get out of the office for a while.  But it led to an hour or so of driving and twenty minutes taking photos. Which, as I'm sure you can imagine, is not an ideal balance.

Of course, these days people don't need to take photos like this because the 'x's could easily be put into any old wall with Photoshop.  And that's even if anyone were so daft as to need to be as literalist about things as I was back then.

In the great film about Helmut Newton 'Frames From The Edge' he explains that he never wasted any time in strange or exotic environments looking for interesting locations and he'd always find the perfect spot to shoot very close to his hotel.

Whether this is really true or not, it's certainly an interesting discipline.

You can watch frames From The Edge here -

http://video.google.com/videoplay?docid=-2644030231343746587&hl=en#