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Harry Borden: Baroness Thatcher
£ 625 – £ 5,800Baroness Thatcher photographed at The Lemonade Factory studios, Battersea, London, 9 October 2006 Harry recalls the shoot: " Like her or loathe her, Margaret Thatcher was a major figure in British life in the 1980s. She changed the country’s cultural and political landscape. My career as a photographer didn’t really take off until the early 1990s, by which time her political career was over. I never got the opportunity to photograph her in her pomp and glory, and thought I had missed my chance. Then in October 2006, I got a call from Time magazine. The editor was planning a special edition – 60 Years of Heroes – and my commission was to photograph Baroness Thatcher. Although by then I had photographed many famous people, getting this job was a brilliant moment in my career. During our meeting she held my hand and asked me several times, "When are the other people arriving?" She clearly thought I was shooting all the 'Heroes' at the same time, as if Mikhail Gorbachev, Nelson Mandela and her would be rubbing shoulders in this shabby studio in Battersea (picked because of it's proximity to her home). At the end she looked puzzled and said to me, “The others never came...” She was no longer 'The Iron Lady'. Just a once-formidable person succumbing to human frailty as we all eventually do. The ‘eyes-closed’ portrait was one of the last frames in the shoot and was taken using natural daylight. I hadn’t planned it. She just blinked and the idea for the picture came into my head. I asked her just to close her eyes. Even when I was taking the shot, I knew it was going to be an iconic picture. I used my Canon EOS-1Ds Mark II with a 50mm lens, with the camera on a tripod. The shoot lasted about 12 minutes. What makes this portrait special? I think when you get someone to close their eyes, they’re in a position where you can observe them. They seem vulnerable. Margaret Thatcher had so much dynamism and power, so when you see a photo of her in old age, and with her eyes closed, there’s something absorbing about looking at her and reflecting on how she affected our lives." Available in a choice of physical size options. Please ask for framing options. Please allow 2-3 weeks between order and delivery for an unframed photograph. Framing adds 2-3 weeks. -
Harry Borden: Gillian Anderson
£ 625 – £ 5,800Gillian Anderson photographed in the basement at 6 Fitzroy Square, London, 10 July 2012 Harry recalls the shoot: "One of my most enjoyable shoots in recent years took place when I photographed the movie, TV and stage actor Gillian Anderson. She is best known for being FBI agent Dana Scully in cult sci-fi series The X-Files. When I photographed her, in July 2012, I was aware of the series but had never watched it. This was a good thing, because it meant I wasn’t intimidated by her fame. I was commissioned to shoot her portrait by The Sunday Times, which was running an interview with her to coincide with her role in the film Shadow Dancer. The newspaper had hired a location for the shoot: Six Fitzroy Square, an 18th century town house in London’s Fitzrovia. It had a lot of character and offered a range of interior backgrounds as well as an outside area. Sometimes when I’m photographing actors I direct them as if they are on a film set. I ask them to imagine they are in particular situations and then photograph their expressions. With Gillian, for example, I did things like asking her to look startled, or to imagine she was seeing God in the sky. She was brilliant and really got into the idea. This was when I took my favourite picture of the day, in which Gillian has her mouth open as if she’s doing a silent scream. The image was shot against a white wall in the basement. I used two flash heads to light Gillian. One was a raw flash head, without any modifiers, which I used to backlight her. I put it in an adjacent room and used the door frame to flag it off slightly. I used the other head with a softbox, positioned to the right of my camera. I was shooting with my Canon EOS 5D Mark II and a 50mm lens. The picture did well in various competitions and was shortlisted in the The Royal Photographic Society International Print Exhibition 2013. It also generated much discussion on Twitter, particularly among women. They were saying they liked the picture because it wasn’t retouched and showed her as a woman in her mid-40s, rather than trying to make her look younger. Looking at it now, the light is quite hard but it’s still flattering. I like the simplicity of the picture and its enigmatic quality. She appears vulnerable, as if momentarily surprised, and it seems like you’re witnessing a moment. In reality, of course, the moment was created, but its ambiguous nature means that everyone can bring their own interpretation to it." Available in a choice of physical size options. Please ask for framing options. Please allow 2-3 weeks between order and delivery for an unframed photograph. Framing adds 2-3 weeks. -
Harry Borden: Run DMC
£ 625 – £ 5,800Run DMC photographed near their Edgware Road hotel, London on 18 May 1998 Harry Borden recalls the shoot: “ Often I find an environment I'd like to photograph anyway—like this wall by their Edgware Road hotel. I loved the flame-like markings. After placing my subject in the location, I see what happens. This was photographed on my Hasselblad with Kodak Tri-X. Sadly, Jam Master Jay (on the right) was shot and killed in 2002." Available in a choice of physical size options. Please ask for framing options. Please allow 2-3 weeks between order and delivery for an unframed photograph. Framing adds 2-3 weeks. -
Harry Borden: Blur
£ 625 – £ 5,800Blur photographed on Beaufort Street, Chelsea on 10 March 1994 Harry Borden recalls the session: "This was a shoot for Select, the colourful Britpop magazine of the 90s. First I took individual portraits in a studio behind the Bluebird restaurant on the Kings Road in Chelsea. It’s hard to believe now but the plan was to take these individual portraits and in post-production, colour each band member as a different race. I guess they wanted to illustrate the post-modern, multiracial Britain that the band celebrated. Thankfully the ‘black-face’ idea didn’t happen and they used this picture. After the studio session, I took them for a walk down Beaufort Street towards the river. We strolled into a Victorian tenement block and I found this strange lean-to. ‘Wet paint’ was written in chalk on the floor and there was an inconvenient streetlamp obscuring my view but I think it worked as a location. I used the post to make two photographs in one, dividing the group into its constituent parts. I often don’t know what I’m looking for but intuitively know when I’ve found it. When we got back to the studio, the mood was celebratory as we were shown the artwork for Parklife, their third studio album with the snarling greyhounds. The headline in the magazine declared them the best British band since the Smiths and 25 years on, maybe that doesn’t seem too hyperbolic." Available in a choice of physical size options. Please ask for framing options. Please allow 2-3 weeks between order and delivery for an unframed photograph. Framing adds 2-3 weeks. -
Harry Borden: Robbie Williams, London (1997)
£ 625 – £ 5,800Robbie Williams photographed on the London Underground, March 1997 Harry recalls the shoot: “In early 1997, Robbie Williams was at a difficult stage in his career, and it wasn’t easy to predict what would happen next. Aged 23, he had left Take That the previous year but had yet to release his first solo album. When I was commissioned by music magazine Select to photograph him in March 1997, he seemed a little lost. The magazine had booked a studio in Clerkenwell, central London, and wanted me to shoot portraits to go with an interview by journalist Caitlin Moran. But Robbie wasn’t in the best frame of mind for the shoot. I remember clearly that I had little or no conversation with him. He wore an amazing striped suit, and I photographed him manically jumping around. It wasn’t an intimate type of shoot at all; it was just a bit crazy. His PR people were looking on and wringing their hands with anxiety. However, even in this unpredictable and dishevelled state, he was very charismatic and handsome. He had amazing eyes and was great to photograph. Aside from the studio portraits, I had other plans for the shoot. I’m a big fan of Dennis Stock’s famous photographs of actor James Dean in Times Square, and I wanted to try something similar. I liked the idea of photographing someone charismatic in an anonymous setting, so I suggested that we go outside. The people from Robbie’s management company were very concerned about him being mobbed, but I tried to persuade them that it was a good idea. I said we would just walk through Clerkenwell to Farringdon tube station, where I’d get some shots of him on the concourse, perhaps reading a newspaper. They reluctantly agreed, though I didn’t tell them my real plan – to photograph him on a London Underground train. As Robbie and I walked through the station with an entourage behind us, I told him what I was planning to do, and he agreed. So when a train pulled into the platform, he and I jumped on just as the doors were about to close. Everyone else, including his PR people and my assistant, was left on the platform. Robbie and I went one stop on the train to King’s Cross station. I had my Fujifilm GW670 (a 6x7 rangefinder camera with a 90mm lens), some Kodak Tri-X film and a tripod. I shot about 10 frames. Nobody on the train said anything to us or barely even looked up. We got out at King’s Cross and caught the train back to Farringdon. If I wanted to shoot something like that today, I’d probably have to get official permission or set it up with lots of extras. But we got away with it then because we did it so quickly. If you’re fleet-footed and completely brazen, quite often people don’t bat an eyelid. If you ask: ‘Is it okay to take the picture?’ you’re just giving people the opportunity to object. Here, we winged it and I think that energy and spontaneity is woven into the fabric of the picture. The best picture I’ve taken of him is the shot on the tube. It was selected for the 1997 John Kobal Photographic Portrait Award exhibition. It was exactly the picture I’d wanted. Even today, I can look at it and feel pleased that I managed to pull off my idea.” Available in a choice of physical size options. Please ask for framing options. Please allow 2-3 weeks between order and delivery for an unframed photograph. Framing adds 2-3 weeks. -
Harry Borden: Bjork, Reykjavik (1998)
£ 625 – £ 5,800Bjork photographed in Reykjavic, Iceland, on 24 September 1998 Harry recalls the shoot with Bjork: "Visually sophisticated and engaged in the process, it's not enough to get just a 'good' portrait of Björk. I'm sure every photographer who takes her picture has the image in their portfolio. This was from a memorable trip to Iceland with Lynn Barber for the Observer. Although I was only allocated 20 minutes, this photograph was lucky enough to win a World Press award in 1999. It was shot with my Hasselblad on Tri-X film. At the time I was experimenting with a lab that offered to process the film for next to nothing. When I scanned the negative I thought it looked a bit grainy but put any doubts to the back of my mind. After I received the fax from the World Press Photo, (it was before the ubiquity of email) I instructed my printer to make a beautiful analogue bromide. A few days passed before I got a panicked call from the lab explaining the neg was impossible to work with. They actually said it looked like it had been developed in Urine. Photoshop and a digital output came to the rescue but I learned a valuable lesson; Never economise with your work." Available in a choice of physical size options. Please ask for framing options. Please allow 2-3 weeks between order and delivery for an unframed photograph. Framing adds 2-3 weeks. -
Harry Borden: Radiohead (2007)
£ 625 – £ 5,800Radiohead photographed at Holborn Studios, London, 2007 In 2007 I photographed Radiohead for the Observer Music Monthly. They were about to release their seventh album, In Rainbows. They were also a more cerebral outfit than most other bands, so I thought carefully about how I would photograph them. I definitely didn’t want to turn up completely unarmed to photograph a band of hip and savvy people. The Observer had hired a room at Holborn Studios in north London, but I aimed to do something different from the average studio shoot. I wanted to approach it from an alternative angle, to include some element of performance and encourage the band members to be fully engaged and collaborative. With all that in mind, I came up with the concept of allowing the band to photograph themselves. I liked the idea because they seemed empowered and in control of their destiny, so it seemed an appropriate approach, as well as being quite funny. I talked it through with the magazine’s editor, who agreed, then bought an infrared cable release so the band could fire the camera’s shutter. When they arrived for the shoot, I explained the idea to them and they were really up for it, so I went ahead with setting it up. We had the biggest studio at Holborn. The equipment included a splendid block and tackle arrangement that I’d often admired, so I decided to incorporate it in the shoot. I attached one light to it with an Octa softbox, which I love using. I only used one light because when it comes to lighting I always believe that less is more. My Canon EOS 1Ds Mark II was set up on a tripod with a 50mm lens attached. I asked the band to stand under the Octa and arranged the band members with lead singer Thom Yorke at the front. Then I gave him the infrared cable release asked him to point it at the camera. I let him take the pictures until the memory card was full. One of those images was used on the cover of Observer Music Monthly. After we had done that scenario, I borrowed my assistant’s 1DS Mark II and asked the band to stand in the same places as they were when taking their own picture. Then I switched the radio sync to my assistant’s camera and shot the whole set-up from a different angle. I got some frames of my assistant standing by the camera, but ultimately the set-up worked best when it was just the band taking pictures. My favourite shot, shown here, has Thom Yorke giving a knowing look to my camera. This picture was used inside the magazine. As well as being something different and eye-catching, it works well because I think the picture references the kind of band Radiohead is. Available in a choice of physical size options. Please ask for framing options. Please allow 2-3 weeks between order and delivery for an unframed photograph. Framing adds 2-3 weeks. -
Harry Borden: Jarvis Cocker, London (1998)
£ 625 – £ 5,800Jarvis Cocker photographed in Waterlow Park, London, March 1998 Harry Borden recalls the session with the Pulp frontman: "I took this photograph in March 1998. By that time Pulp had recorded two major hit albums: His ‘n’ Hers (1994) and Different Class (1995), which featured several iconic singles including ‘Common People’. By this stage Jarvis was a superstar, established as part of the cultural landscape and featured frequently in the newspapers. I was doing the shoot for the Observer and he was being interviewed by journalist Lynn Barber at her house in Highgate, London. Using my Hasselblad, I took some pictures around the house, including in her daughter’s bedroom. The original idea was to move on and shoot some pictures in Highgate Cemetery, but I felt it wasn’t really appropriate for him as he wouldn’t have fitted into that Gothic environment. Instead we went to nearby Waterlow Park and shot more images there. Towards the end of the shoot I asked him to zip up the hood of his snorkel parka coat, so only his big, reflective glasses were visible. I liked the idea of being confronted with someone famous and playing with the fact that it’s really them. I was concerned his face would be too dark, so I used a handheld exposure meter to take a reading of the light going into the hood. By exposing only for his face, the line of trees in the background was blown out because it was overexposed. The result was a graphic and intriguing picture. It is possible that I had David Bailey’s portrait of Mick Jagger in a fur hood in mind when taking this picture. Rather than just copy a famous image, I try to take an idea and use it as a basis to create something that is different and original. This way, rather than getting a pastiche, you get a genuine moment. The line of trees in my picture gives it a kind of municipal ordinariness that suits Jarvis’s style and takes it on to another level. " Available in a choice of physical size options. Please ask for framing options. Please allow 2-3 weeks between order and delivery for an unframed photograph. Framing adds 2-3 weeks. -
Harry Borden: Michael Hutchence, Paris (1997)
£ 625 – £ 5,800Michael Hutchence pauses for a cigarette on the balcony of his hotel on the Champs Élysées, Paris, March 1997 This portrait of Michael Hutchence has become one of Harry Borden's best known images. Harry recalls a memorable week spent with the tragically short-lived INXS singer: "In March 1997, I was asked by The Observer to photograph him in Paris, where he was promoting INXS’s latest single, "Elegantly Wasted". It was a great commission and involved me staying at a really nice hotel on the Champs-Élysées for a week – where Hutchence was also staying. However, as we had to fit the shoots around him doing interviews and performing on pop shows, there was a lot of waiting around. I saw him perform the new single over and over again. He was, at that time, 37 years old and had been in the business for more than 20 years, but was still a mesmerising performer and had a lithe, panther-like quality. He had a great voice and his on-stage presence helped make the band really successful. One day I was out on the hotel balcony, trying to keep out of the way while he was doing a television interview in his room. At one point, he came out to have a cigarette. I had my camera with me and he just posed for me briefly, without either of us actually acknowledging that he was posing. As he looked past me, into the distance, his mind seemed to be somewhere else. It was a genuine moment. Having got to know Hutchence quite well during my week in Paris, it was a shock when, just nine months later, he was tragically found dead in a Sydney hotel room. The official verdict was suicide. The following year, the balcony shot was shortlisted for the John Kobal Portrait Award, and the Australian National Portrait Gallery contacted me to say they wanted it in their collection. Later, some of my other Michael Hutchence images featured on the sleeve of his posthumously released solo album. Since then, the balcony portrait has taken on a life of its own and has become one of my best-known photographs. The fact that Hutchence had died in a hotel room has undoubtedly given the portrait added poignancy. " Available in a choice of physical size options. Please ask for framing options. Please allow 2-3 weeks between order and delivery for an unframed photograph. Framing adds 2-3 weeks. -
Harry Borden: The Spice Girls, Bangkok (1996)
£ 625 – £ 5,800The Spice Girls, Bangkok 1996. L to R: Geri Halliwell, Melanie Chisholm, Emma Bunton, Melanie Brown, and Victoria Adams (later Victoria Beckham) Harry Borden photographed the Spice girls on four occasions and this is his favourite Spice Girls image. Harry explains: "The location for the shoot was a half-built tower block in the centre of Bangkok, chosen because their record company’s offices were on a lower floor of the building. After shooting a number of pictures on the roof, we came down to the office and they sat down, exhausted by the heat. I immediately saw that this scene would make a much better picture than the others I’d taken. So I quickly asked them to hold their positions and shot a few frames, using my Fujifilm 6x7 rangefinder, with Kodak Tri-X film." "There’s a wonderful line going through it, partly because of the way they are touching or linking arms, and the interplay between the two pairs of girls looks very natural. I also like the variation in light; Geri, on the left, is lit like a figure from a Renaissance painting, while Victoria on the other side of the frame is backlit. The fact that Geri is looking slightly distant is also appropriate; she was older and more worldly than the others and went on to leave the group in 1998. The picture only came about because I was alive to the situation and didn’t switch off - and shows that sometimes magic happens when you’re not trying too hard. A print is now in the permanent collection of The National Portrait Gallery." Available in a choice of physical size options. Please ask for framing options. Please allow 2-3 weeks between order and delivery for an unframed photograph. Framing adds 2-3 weeks. -
Michael Putland: David Bowie with paintbrush, Haddon Hall (1972)
£ 595 – £ 3,500Michael Putland (1947-2019) recalled: I went to David's home, which was a flat in Haddon Hall in Beckenham, to take some photographs for Disc and Music Echo. Bowie came to the door, cigarette in one hand, paintbrush in the other, wearing a one piece catsuit I had seen him perform in on stage a little while before. "Hello mate" he said. "I'm painting my ceiling. Do you mind if I finish it?" And that was how I found myself with a wonderful set of photos of the great man up a ladder waiting the ceiling dressed in his stage clothes, with a matching hat to keep the paint drips off his hair. -
Michael Putland (1947-2019) recalled: I went to David's home, which was a flat in Haddon Hall in Beckenham, to take some photographs for Disc and Music Echo. Bowie came to the door, cigarette in one hand, paintbrush in the other, wearing a one piece catsuit I had seen him perform in on stage a little while before. "Hello mate" he said. "I'm painting my ceiling. Do you mind if I finish it?" And that was how I found myself with a wonderful set of photos of the great man up a ladder waiting the ceiling dressed in his stage clothes, with a matching hat to keep the paint drips off his hair.
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Michael Putland: Contact sheet print — Elton John
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Michael Putland: Contact sheet print — The Rolling Stones (1974)
£ 1,250 – £ 1,675Michael Putland (1947-2019) recalled: When I arrived as agreed at 10am at a TV studio on London's South Bank to shoot stills of The Rolling Stones "It's Only Rock 'n' Roll" video, I wondered if I had the right day, as no one was there. Over the next few hours technicians wandered in, followed by make-up artists, assistants, record company people, and finally, the band. Well, four of them - there was no sign of Keith. Something about his missing trainers was murmured. When Keith finally arrived, the band dressed in their sailor suits and prepared to enter the huge tent, which was to slowly fill with foam as they entered. It was evening now. The band ran through the number, but there was no foam. The foam was machine was turned up to maximum, and in it rushed. Charlie disappeared completely, then the others were up to their shoulders, but the song was not yet finished. I was shooting through a slit in the tent, which was also getting enveloped in fast-filling foam. Eventually all of the band bailed out at the last minute, straight through the hole I was shooting through. It was hysterically funny - we were all in fits of laughter. -
Michael Putland: Contact sheet print — David Bowie (1972)
£ 1,250 – £ 1,675Michael Putland (1947-2019) recalled: I went to David's home, which was a flat in Haddon Hall in Beckenham, to take some photographs for Disc and Music Echo. Bowie came to the door, cigarette in one hand, paintbrush in the other, wearing a one piece catsuit I had seen him perform in on stage a little while before. "Hello mate" he said. "I'm painting my ceiling. Do you mind if I finish it?" And that was how I found myself with a wonderful set of photos of the great man up a ladder waiting the ceiling dressed in his stage clothes, with a matching hat to keep the paint drips off his hair. -
KILLER QUEEN BY KEITH HAYNES Mixed media: Cut from a 12 inch Queen vinyl record. This can be made from any Queen album or 12 inch single but we think it looks best with A Night At The Opera, A Day At The Races, Queen or Sheer Heart Attack. You can see example mock-ups in the image gallery alongside. You be the judge, and let us know which one you would like. Supplied ready to hang in a 52cm x 52cm / 20 x 20 inch black box frame, with a circular window mount opening. Unique edition (as each one is different) of 50, each one signed and numbered by Keith Haynes. Please allow 2-3 weeks between order and delivery. Price includes UK mainland delivery. If you are outside the UK mainland, a separate shipping charge applies–please get in touch for a quote based on your location.
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A matched pair consisting of: The Don't Look Back in Anger front cover image, limited edition of 100 archival pigment prints, image size 18 x 18 inches, paper size 24 x 25 inches. Signed and numbered by Michael Spencer Jones on the front under the image. The Don't Look Back in Anger back cover image, limited edition of 25 archival pigment prints, image size 18 x 18 inches, paper size 24 x 25 inches. Signed and numbered by Michael Spencer Jones on the front under the image. Unframed price.
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Michael Spencer Jones: Oasis – Be Here Now 8×10 (1997)
£ 115 – £ 175Special offer limited edition for the Masterplan25 exhibition Your chance to own a signed limited edition by Michael Spencer Jones in a special 8 x 10 inch size at a nice price. This 8 x 10 inch photograph shows one of the session images taken by Michael Spencer Jones for Be Here Now in 1997. It is offered in an edition of 250, each one signed and numbered in black in the white area under the image by Michael Spencer Jones and embossed with his archive stamp. We can supply it unframed or framed. -
Special offer limited edition for the Masterplan25 exhibition Your chance to own a signed limited edition by Michael Spencer Jones in a special 8 x 10 inch size at a nice price. This 8 x 10 inch photograph shows one of the session images taken by Michael Spencer Jones for Definitely Maybe in 1994. It is offered in an edition of 250, each one signed and numbered in white in the black area under the image by Michael Spencer Jones and embossed with his archive stamp. We can supply it unframed or framed.
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Special offer limited edition for the Masterplan25 exhibition Your chance to own a signed limited edition by Michael Spencer Jones in a special 8 x 10 inch size at a nice price. This 8 x 10 inch photograph shows one of the polaroids of Liam Gallagher taken by Michael Spencer Jones for (What's The Story) Morning Glory? in 1995. It is offered in an edition of 50, each one signed and numbered in white in the black area under the image by Michael Spencer Jones. We can supply it unframed or framed.
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Special offer limited edition for the Masterplan25 exhibition Your chance to own a signed limited edition by Michael Spencer Jones in a special 8 x 10 inch size at a nice price. This 8 x 10 inch photograph Noel Gallagher live at Irvine Beach in 1995 shows Michael's chinagraph pencil markings around the frame. It is offered in an edition of 50, each one signed and numbered in white in the black area under the image by Michael Spencer Jones. We can supply it unframed or framed.
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A matched pair consisting of: The Shaker Maker front cover image, limited edition of 100 archival pigment prints, image size 18 x 18 inches, paper size 24 x 25 inches. Signed and numbered by Michael Spencer Jones on the front under the image. The Shaker Maker back cover image, limited edition of 25 archival pigment prints, image size 18 x 18 inches, paper size 24 x 25 inches. Signed and numbered by Michael Spencer Jones on the front under the image. Unframed price.
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Archival pigment print on 24 x 25 inch paper, edition of 20, signed and numbered on the front by Michael Spencer Jones. Unframed price.
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Archival pigment print on 44 x 45 inch paper, edition of 10, signed and numbered on the front by Michael Spencer Jones. Unframed price.
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Archival pigment print on 44 x 45 inch paper, edition of 10, signed and numbered on the front by Michael Spencer Jones. Unframed price.
