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This image is made as a Chromaluxe print. Chromaluxe printing is an archivally stable process that produces prints with outstanding depth and an ultra-high-gloss finish. The technique uses a process called dye sublimation to fuse the image directly on to a 1.2mm panel of white coated aluminium. The print cannot be scratched, and do not need additional framing/glazing. This allows the viewer to fully appreciate the highly saturated colours and jewel-like appearance.
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This image is made as a Chromaluxe print. Chromaluxe printing is an archivally stable process that produces prints with outstanding depth and an ultra-high-gloss finish. The technique uses a process called dye sublimation to fuse the image directly on to a 1.2mm panel of white coated aluminium. The print cannot be scratched, and do not need additional framing/glazing. This allows the viewer to fully appreciate the highly saturated colours and jewel-like appearance.
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This image is made as a Chromaluxe print. Chromaluxe printing is an archivally stable process that produces prints with outstanding depth and an ultra-high-gloss finish. The technique uses a process called dye sublimation to fuse the image directly on to a 1.2mm panel of white coated aluminium. The print cannot be scratched, and do not need additional framing/glazing. This allows the viewer to fully appreciate the highly saturated colours and jewel-like appearance.
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Between The Buttons Session, Primrose Hill, London, (1966)
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Bill Wyman recording at Olympic Studios, London, 1967
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Keith Richards & Mick Jagger play cards with Nona Hendryx, backstage USA 1965
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Keith Richards at home, Redlands 1966
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Mick Jagger in fur coat on the roof of Harley House, London 1966
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RCA Studios, Hollywood, USA 1965
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A variant of the 1966 album cover photograph. Gered recalls: "This photograph is an out-take from the "Between the Buttons" album cover session. It was taken very early on a beautiful morning after an all night recording session. The Stones always recorded through the night and I thought that their "look" after one of these gruelling sessions might capture an image that would be right for the time. The band's manager and producer Andrew Loog Oldham agreed, as did the band, and at about 5.30 a.m. we all set off in a procession of limousines for Primrose Hill. I had built a rather clumsy filter of black card, glass and Vaseline, which I hoped would create a strange, ethereal and slightly "stoned" look to the photos. In spite of Brian Jones being rather unhelpful some of the time, and all of us feeling the bitter early morning chill, the photos turned out better than I could have wished for and the cover image has become one of my most famous and enduring photos of the Stones".
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"One of the film siren portraits made for general promotional purposes in March 1978. Although this portrait was not connected with Kates single Hammer Horror I have subsequently felt that it fits the title quite well!" Gered Mankowitz
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"Shot from the US release of the Kick Inside album sleeve session in March 1978. EMI America had rejected the original cover and I was brought in to shoot an alternative. I had the box made especially for the shoot and we used it again for the Lionheart cover." Gered Mankowitz
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"Although this portrait was part of the original session in January 1978, it inspired us to shoot more theatrical portraits in the follow-up session a few weeks later." Gered Mankowitz
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Prices are shown excluding VAT. This is added at checkout where applicable.
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Archival limited edition photograph made on 10 x 15 inch paper, signed and numbered by Gered Mankowitz on the front. Edition of 200 in this size. Prices are shown excluding VAT. This is added at checkout where applicable.
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"Taken during my final session with Kate in February 1979 and intended to create the high-fashion magazine cover look of a classic photographer like Norman Parkinson." Gered Mankowitz
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A black & white out-take from the Lionheart album cover shoot taken in a set built in my studio in August 1978.