{"id":142479,"date":"2020-11-03T14:42:18","date_gmt":"2020-11-03T14:42:18","guid":{"rendered":"https:\/\/other.kelsey.host\/amateurphotographer\/?p=142479"},"modified":"2020-11-04T14:26:01","modified_gmt":"2020-11-04T14:26:01","slug":"greatest-album-cover-photography-aladdin-sane-by-david-bowie","status":"publish","type":"post","link":"https:\/\/other.kelsey.host\/amateurphotographer\/technique\/interviews\/greatest-album-cover-photography-aladdin-sane-by-david-bowie\/","title":{"rendered":"Greatest album cover photography: Aladdin Sane by David Bowie"},"content":{"rendered":"

The cover of David Bowie\u2019s 1973 album Aladdin Sane is regarded as a creative masterpiece. It is surrounded by myth and contrasting stories, even from those who were directly involved in its creation. At the time it was the most expensive album cover ever produced \u2013 a stunning original image which went through a dye transfer process, extensive airbrushing and plates that were made up in Switzerland. The shoot took place on a Saturday in January 1973 in Duffy\u2019s rectangular studio at 151a King Henry\u2019s Road, London. In attendance were Duffy, Bowie, Duffy\u2019s studio manager Francis Newman, Celia Philo (who assisted Duffy with the typography layout) and make-up artist Pierre Laroche. Newman recalls that Bowie\u2019s flamboyant manager Tony Defries was there at the start but didn\u2019t stay for the duration of the shoot.<\/p>\n\"\"\n

He reveals, \u2018Tony Defries commissioned it through [his company] MainMan Productions. I don\u2019t think there was any budget as such. Tony just told Duffy to get on with it. Duffy told the story that Tony wanted it to be as expensive as possible to commit RCA into promoting it. Certainly it was [expensive] because the dye transfer print was incredibly expensive, about \u00a31,000, which given that our day rate at the time was about \u00a3300 \u2013 that\u2019s a lot of money.\u2019 The images from the shoot were taken with Duffy\u2019s Hasselblad using a ring flash unit, made by David Cecil, on Ektachrome ASA 64 120-format film. Duffy briefed Newman the day before the shoot and Newman went in at around 8am to set the studio up.<\/p>\n

Newman recalls, \u2018The others arrived in dribs and drabs and I think Bowie was last. They all disappeared into Duffy\u2019s office to discuss what they were going to do. Every now and then Bowie would appear, open the front door and have a fag. Every time he came out I had a chat with him. He was absolutely charming and I did notice that his teeth were very yellow from the nicotine. Eventually they all came out [of the office] and said \u201cOK\u201d and we got started.\u2019 Lightning bolt make-up The iconic lightning bolt make-up is said to have been inspired by a product logo. Newman remembers, \u2018I wasn\u2019t party to the discussion of how the flash originated, although I do remember the rice cooker that his [Duffy\u2019s] mother had given him with a National Panasonic flash on it, so I can believe that.<\/p>\n\"\"\n

After we\u2019d been going for about half an hour in make-up Duffy was getting a bit irritated by Laroche, who was painstaking. Laroche started drawing this little flash on Bowie\u2019s cheek and Duffy said, \u201cNo, not fucking like that, like this\u201d. He got some lipstick and in ten seconds just drew the flash and then said, \u201cNow fill that in\u201d. And then we took the shots.\u2019 Newman recalls the shoot only took 20 or 30 minutes. \u2018As far as I remember we shot two rolls, 24 pictures, then we all went home.\u2019 Once the pictures were done they went off to be airbrushed by Philip Castle, which included the addition of a small pool of water on Bowie\u2019s collarbone and extra mascara. The whole project fell under the umbrella of Duffy Design Concepts.<\/p>\n\"\"\n

It\u2019s a testament to the power of the picture, and the artistic design, that the album cover is still being spoken about almost 50 years later. In the book Duffy Bowie: Five Sessions Duffy\u2019s son Chris sums it up, \u2018Who could have imagined that the moment he clicked the shutter on the Hasselblad that one of those images would become known as a cultural icon?\u2019<\/p>\n

David Bowie\u2019s Aladdin Sane<\/strong><\/h2>\n

Musicians:<\/strong> David Bowie, Mick Ronson, Trevor Bolder, Mick \u2018Woody\u2019 Woodmansey, Mike Garson, Ken Fordham, Brian \u2018Bux\u2019 Wilshaw, Juanita \u2018Honey\u2019 Franklin, Linda Lewis, G.A. MacCormack
\nReleased:<\/strong> 20 April 1973 (RCA)
\nBest chart performance:<\/strong> No. 1 UK Albums Chart (the album entered the chart at No. 1). No. 2 UK year-end Albums Chart for 1973
\nSales:<\/strong> Approx. 4.6 million worldwide
\nFascinating fact:<\/strong> The Aladdin Sane album cover was the first of three album covers that Duffy shot for David Bowie. He was also responsible for the sleeve photography for Bowie\u2019s 1979 LP Lodger, which was shot in the same studio as the Aladdin Sane cover, and the 1980 release Scary Monsters (and Super Creeps)<\/p>\n

What our panel<\/a> said<\/strong><\/h2>\n

\"\"
\nJason Bell<\/strong>
\nIt\u2019s so simple, but so brilliant. It\u2019s basically just ring flash and a white background, but then it subverts that by being airbrushed to the point where you\u2019re not sure if it\u2019s a painting or a photograph, which feels like a metaphor for Bowie struggling with his new-found superstardom.<\/p>\n

\"\"
\nPeter Hook<\/strong>
\nFor a 17-year-old, full of the usual confusions of coming of age, it was appealing almost in a way that made you feel guilty. The music was amazing and, with that cover, the whole thing felt truly special. Carrying that LP round, front cover on show, made me feel cool, probably for the first time in my life!<\/p>\n

\"\"
\nGered Mankowitz<\/strong>
\nI always thought it was an impressive dynamic and a brilliantly executed iconic image. Duffy was one of the great \u2018naughty boys\u2019 of photography \u2013 he and Donovan and Bailey were this wicked triumvirate who pulled the carpet whenever they had the chance and Tony Defries was a salesman par excellence.<\/p>\n

About Duffy<\/h2>\n\"\"\n\n

Brian Duffy was born in England in 1933. His work spanned fashion, music, portraits, advertising and two Pirelli Calendars. By 1979 he was disillusioned by photography and attempted to burn his negatives. He didn\u2019t pick up a camera again till 2009. After suffering from pulmonary fibrosis Duffy died in 2010. For more details of his work and special edition Bowie prints, see <\/span>here<\/a>.\u00a0<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

We reveal the fascinating story behind the photography for Aladdin Sane, one of Bowie’s most iconic album covers, as shot by Duffy<\/p>\n","protected":false},"author":7,"featured_media":142480,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[374,39],"tags":[],"product-category":[],"class_list":["post-142479","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews","category-photo-news"],"yoast_head":"\nGreatest album cover photography: Aladdin Sane by David Bowie - Amateur Photographer<\/title>\n<meta name=\"description\" content=\"We reveal the fascinating story behind the photography for Aladdin Sane, one of Bowie's most iconic album covers, as shot by Duffy\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" 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