![\"Michael](\"https:\/\/other.kelsey.host\/amateurphotographer\/wp-content\/uploads\/2021\/11\/Lorraine-and-Michael.jpg\")
<\/a>\t\t\tMichael Putland with Lorraine Milligan, taken by Marie Naffah<\/p>\n\t\t<\/div>\n\t\t\n
As I\u2019m a former dancer and choreographer, the fusion of music, performance and images have always been an important part of my life but it wasn\u2019t until I embarked on my second career as a hair and make-up artist that I came into Michael\u2019s orbit.\u00a0Fresh out of Shepperton Studios make-up school in 2003 I was asked to do a booking at Pinewood Studios that resulted in me being recommended to Retna Pictures, which was owned by Michael.<\/p>\n
I was taken onto their books as a freelance hair and make-up artist for their lifestyle and beauty photographers, and when I finally got to meet Michael, we immediately connected. It was clear that we shared the same artistic eye and love of perfection, and so began a long creative association and cherished friendship.<\/p>\n\t\t
<\/a>\t\t\tFormer Beatle John Lennon (1940 – 1980) with his wife Yoko Ono at his home, Tittenhurst Park, near Ascot, Berkshire, July 1971.<\/p>\n\t\t<\/div>\n\t\t\n
Michael Putland was born in 1947 and grew up in Harrow. He left school at 16 and worked as an assistant to various photographers, including Time Life photographer Walter Curtin. But his passion was music.<\/p>\n
One of the first rolls of colour he shot was of Jimi Hendrix playing at Woburn Festival in 1968. \u2018I just took one roll, I could not afford more,\u2019 he later recalled. \u2018Beat Instrumental used it on the cover, then lost the whole roll, which was never recovered!\u2019<\/p>\n\t\t
<\/a>\t\t\tBob Marley, Mick Jagger and Peter Tosh backstage at a Rolling Stones gig. The Palladium, New York, 1978<\/p>\n\t\t<\/div>\n\t\t\n
You used to be able to just walk into magazines, so Michael would visit the office where Melody Maker, New Musical Express and Disc and Music Echo were based, but he was too nervous to put his photos on their desk, so he would go next door to Cage & Aviary Birds magazine and hide in their office.<\/p>\n
Then, when it was all clear, he would dart into Melody Maker, leave the images on their desk and swiftly exit. After a couple of years with no lucky break and debts mounting, Michael decided to quit photography and get a \u2018proper job\u2019 as a printer. As he was packing up his studio, the phone rang. It was Judy Nokes at Disc and Music Echo.<\/p>\n
\u2018We\u2019ve got a job for you,\u2019 she said. Michael explained that he had quit photography, but Judy persisted: \u2018It\u2019s Mick Jagger.\u2019 Michael\u2019s response was immediate: \u2018Ok, I\u2019ll do it!\u2019\u00a0This was the start of a 17-year relationship with The Rolling Stones.<\/p>\n\t\t
<\/a>\t\t\tDonna Summer performs on stage in Washington, USA, 1978<\/p>\n\t\t<\/div>\n\t\t\n
In 1973 he toured with them for six weeks. He later recounted: \u2018The first day, in Vienna, I shot a press call for Mick, the sound check and then the concert\u2026 took the first flight next morning to my darkroom in London, processed the film in three-gallon tanks, made the prints and once dried, was back in the car hand-delivering the prints to music mags and newspapers; then back to the airport.\u2019<\/p>\n
Michael shot continuously for Disc and Music Echo, Sounds, Smash Hits and Q, as well as for artists and record labels. It was a jet-set life that found him on the road a lot, but it wasn\u2019t always a rock\u2019n\u2019roll lifestyle.<\/p>\n
\u2018I came off the Stones tour and immediately went on The Osmonds\u2019 tour,\u2019 he once recollected. \u2018They were lovely, really sweet, but it wasn\u2019t what I was used to. It was very good financially to shoot them, they were huge. I remember the PR for Polydor saying, \u201cYou look quite ashen, Michael.\u201d I was sitting at the back of the plane drinking milk, because there was no booze!\u2019<\/p>\n\t\t
<\/a>\t\t\tEnglish pop\/ska band Madness photographed in London, 1981. This image was used on the cover of 7, the group\u2019s third album<\/p>\n\t\t<\/div>\n\t\t\n
Back in 1969, aged 22, Michael had set up his own studio in the basement of 40 Churton Street, London \u2013 an address that, by pure coincidence would years later become the home of Grays of Westminster. Gray Levett, of Grays of Westminster, told me about the parallels of their lives.<\/p>\n
\u2018When I moved back to the UK from America, I was working in the music industry and had the idea for a camera business,\u2019 Gray explained. \u2018I started Grays of Westminster in my sister\u2019s modest basement, but sharing the space was just not workable, so I started looking for premises. A barber\u2019s shop became available, at 40 Churton Street.<\/p>\n
Time had not been good to it but I decided to take it on, and discovered a darkroom, behind a wall in the basement. When I removed the door, the smell of the fumes almost took my head off! There were stalactites of limestone hanging off the old metal enlarger.<\/p>\n
\u2018I came into the shop one day and Raffi, our sales manager, was serving this very tall, slim, distinguished- looking chap. Michael introduced himself and explained, \u201cI just had to come and buy my Nikon from you, because between 1969 and 1973 I was the struggling photographer in the basement of this building!\u201d<\/p>\n\t\t
<\/a>\t\t\tAlice Cooper wearing a dress and false pregnancy bulge, 1974. Shot in what is now Grays of Westminster\u2019s basement showroom<\/p>\n\t\t<\/div>\n\t\t\n
\u2018I almost fell over! Michael was a hero of mine. I told him about my discovery of the darkroom. We went down to the basement that had been his studio and he pointed to the spot where I was standing. \u201cThat\u2019s where I photographed Alice Cooper,\u201d he told me.<\/p>\n
\u2018Michael and I discussed gigs that we had photographed over the years and discovered so many parallels in our lives; we were like satellites that had navigated around each other. We became firm friends. I couldn\u2019t get over what an incredibly humble man he was. He was a gentleman of the old school with talent to burn and it was a joy to get to know him, everybody in the shop adored him.\u2019<\/p>\n
This generosity of spirit is something that comes up repeatedly among those who knew Michael. Respected music photographer Jill Furmanovsky recounted an incident when she was starting out. \u2018In the heady Rainbow days of my early career I met Mike Putland in the orchestra pit during a gig.<\/p>\n\t\t
<\/a>\t\t\tRobert Smith of The Cure, in Brazil, March 1987<\/p>\n\t\t<\/div>\n\t\t\n
It was 1972 and I was an 18-year-old art student, whose entire training consisted of a two-week course in photography before being offered the chance to work at The Rainbow as their photographer. The problem was that I was vastly under-qualified for the job.<\/p>\n
\u2018I found a way to increase my technical knowledge during one particularly long drum solo that was often part of a live gig: ask a professional. Not all of them were willing to help a young student \u2013 one even elbowed me out of the way! But Mike was one of the generous ones.<\/p>\n
I remember shouting to him above the crashing cymbals: \u201cHow do you process uprated Tri-X?\u201d With a cheeky smile he shouted back, \u201cMicrophen, 9 1\/2 minutes, 68 degrees for 1000ASA!\u201d From then on I knew how to process uprated black & white film and also gained a much-respected, talented friend, on my journey to becoming a professional photographer. I will never forget his generosity.\u2019<\/p>\n\t\t
<\/a>\t\t\tDuran Duran, London, 1981. Left to right (back): Nick Rhodes, Simon Le Bon. (Front) John Taylor, Roger Taylor, Andy Taylor<\/p>\n\t\t<\/div>\n\t\t\n
Relocating to New York in 1977 Michael founded the photo agency Retna Pictures, which fast became one of the most respected photo libraries in the world. It included rare and early images of The Beatles, The Rolling Stones, Led Zeppelin, Bob Marley, Elton John and hundreds of other major performing artists; and later expanded to include events as well as fashion and lifestyle stock shots.<\/p>\n
Demand for Michael\u2019s work was high, he was at the top of his game during the revolution in music photography and was able to navigate and move with the times.<\/p>\n\t\t
<\/a>\t\t\tMick Jagger sleeping alongside his wife Bianca Jagger, the morning after the end of their European Tour party in Berlin, Germany, on 20 October 1973<\/p>\n\t\t<\/div>\n\t\t\n
Matthew Butson, vice president of Getty Images and a friend of Michael\u2019s, told me, \u2018I was fortunate to have known Michael for a number of years, long before he became a contributor to Getty Images, well over a decade ago. Though he left behind a wonderful body of work this alone does not do justice to the man himself.<\/p>\n
It may be a clich\u00e9, but Michael was one of the true gentlemen in the often-cut-and-thrust world of music photography \u2013 kind, thoughtful and always truly humble. Michael\u2019s constant positivity was only equalled by his passion for photography.<\/p>\n
\u2018Setting up the Retna Agency enabled Michael to expand his skillset further, and his support for his fellow photographers was considerable, but his true calling was always the camera and he admitted to me that running a business was never part of the grand plan, so he was relieved to return solely to his first love, albeit some 30 years later than expected.\u2019<\/p>\n\t\t
<\/a>\t\t\tPete Townshend of The Who throws his guitar in the air on stage at Madison Square Garden, New York, USA, September 1979<\/p>\n\t\t<\/div>\n\t\t\n
Michael spent his later years working mostly on personal projects. For 15 years we worked together at home and abroad for Retna, from The Hebrides to Miami Beach. We also created our own themed fashion and beauty-based projects when budget and availability allowed. With Michael, I would often have to start the hair and make-up at dawn, so we could capture that \u2018golden light\u2019 he so loved.<\/p>\n
The models loved Michael because he had a way of naturally putting them at ease. Michael\u2019s style was cinematic, real, and honest. He captured the essence of the model. We were both particularly fond of 1950\u2019s style, and of ethereal beauty; he even had a stylist create a human-sized set of dragonfly wings, because he knew about my love of fairies.<\/p>\n\t\t
<\/a>\t\t\tEva – \u2018Water Nymph\u2019, taken at Mousetail Barton, Michael\u2019s home in Devon<\/p>\n\t\t<\/div>\n\t\t\n
The last years of Michael\u2019s life were busier than perhaps he had anticipated, with a series of exhibitions including the 2014 Getty Gallery\u2019s 50 Year Retrospective. Among our last assignments together Michael and I had the pleasure of working with the sensational Norma Winstone MBE at her home in Kent, and a new young talent, Marie Naffah, on location in London \u2013 two outstanding jazz singers of our time at both ends of the age scale.<\/p>\n
On 18 November 2019 Michael sadly passed away, peacefully at home, after a short illness. He is sorely missed by so many who mourn his passing, but Michael has left an indelible imprint through his work, and a lasting legacy.<\/p>\n
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Tributes to Michael from friends and family<\/h3>\n
Sophie Putland, Michael\u2019s wife<\/strong><\/p>\n \u2018During our 40-year friendship prior to becoming life partners I knew only a fraction of Michael\u2019s extraordinary career, mainly from amusingly told, self-effacing stories of his experiences and travels. This is perhaps a testament to Michael\u2019s humility and overriding interest in listening to others rather than himself.<\/p>\n These same qualities enabled him to place those he photographed at ease, not only allowing the soul of his subject to be seen, but in doing so telling us so much about the gentle man behind the lens. Michael always had the utmost respect for everyone he photographed and keenly felt the privilege not only of the opportunities he was given, but the trust he was offered which, needless to say, was completely mutual.\u2019<\/p>\n\t\t David Bowie paints the coving of his ground-floor flat at Haddon Hall in silver paint, Beckenham, 24 April 1972. Taken just after the recording of The Rise and Fall of Ziggy Stardust and the Spiders from Mars, before its release on 6 June, 1972<\/p>\n\t\t<\/div>\n\t\t\n Julie Grahame, Director of Retna NY<\/strong><\/p>\n \u2018Michael was first my boss, then my business partner and dear friend. My mentor. We met in 1989 when I interviewed for a job at Retna UK. It was apparent that Michael respected and elevated women in ways that I had not encountered before. He was so open and non-judgmental, with a thirst for photography, and for life and people in general.<\/p>\n We worked with hundreds of photographers, and he supported them too, making sure that if there were jobs around that the younger ones got them. He wasn\u2019t interested in ego or competing. Michael was always respectful of the people he had photographed and perpetually humble about his own photography.<\/p>\n In 1992 I moved to Retna New York to \u201ckick some ass\u201d and Michael would visit regularly. He taught me how to be an ethical businessperson, and to do the monthly accounts on the back of an envelope.\u2019<\/p>\n\t\t Jazz singer Marie Naffah \u2013 one of the last assignments Lorraine did with Michael before he became ill<\/p>\n\t\t<\/div>\n\t\t\n Matthew Butson, VP, Getty Images<\/strong><\/p>\n \u2018Michael\u2019s last book, The Music I Saw, is a fitting testament to his craft over six decades and he never failed to acknowledge the great part that fellow music photographer and future business partner David Redfern played in developing his career. David and Michael\u2019s paths crossed many times covering gigs during the sixties and they became firm friends.<\/p>\n It was David who helped Michael gain access to the hallowed ground that was BBC Television Centre and ultimately to Top of the Pops and The Old Grey Whistle Test. In those days, access to the stars was considerably easier than it is today. Michael\u2019s charm and impeccable manners enabled him to connect with the many musicians who provided the soundtrack to our lives.<\/p>\n \u2018Whether covered in foam and nearly suffocating for The Rolling Stones It\u2019s Only Rock\u2019n\u2019Roll video shoot, or simply knocking on David Bowie\u2019s door whilst Bowie was decorating his home in Beckenham (in full Bowie regalia, paintbrush in hand), Michael was at ease with the great and good and developed relationships with many of the stars he shot over the years, not least Bowie whom Michael shot in 1973 at the first concert on the fabled \u201cZiggy Stardust\u201d tour at Borough Assembly Hall in Aylesbury.\u2019<\/p>\n\t\t Kylie Minogue at the poetry Olympics Royal Albert hall London 1996 Australian pop singer and actress Kylie Minogue attends the Poetry Olympics at the Royal Albert Hall in London, 1996.<\/p>\n\t\t<\/div>\n\t\t\n Edu Hawkins, music photographer<\/strong><\/p>\n \u2018It is the enormity of Michael\u2019s kindness, humility and generosity of spirit that radiate most from his images. People liked him. He put them at ease and they were comfortable in his presence. Michael\u2019s pictures tell us as much about the person behind the lens, as the people in front of it.<\/p>\n The essence of good music photography is the same as the essence of good music \u2013 communication of personality, moment and feeling always wins over technique. To my mind, Michael was a bluesman with a camera.\u2019<\/p>\n\n\t\t<\/a>\t\t\t<\/a>\t\t\t<\/a>\t\t\t<\/a>\t\t\t