{"id":80469,"date":"2016-06-27T20:02:37","date_gmt":"2016-06-27T19:02:37","guid":{"rendered":"http:\/\/amateurphotographer.co.uk\/?p=80469"},"modified":"2016-06-24T11:09:43","modified_gmt":"2016-06-24T10:09:43","slug":"clicks-and-stones","status":"publish","type":"post","link":"https:\/\/other.kelsey.host\/amateurphotographer\/technique\/interviews\/clicks-and-stones\/","title":{"rendered":"Breaking Stones: Documenting the rise of the Rolling Stones"},"content":{"rendered":"\t\t
\n\t\t\t\"Outside\t\t\t

Outside the Tin Pan Alley Club in London, 1963, by Terry O\u2019Neill
\u00a9 Iconic Images\/Terry O\u2019Neill<\/p>\n\t\t<\/div>\n\t\t\n

The pop culture of Britain took off in the early 1960s with bands such as the Beatles and the Rolling Stones winning hearts and fans across the world with their style, good looks and self-penned hits. At the same time, a crop of young British photographers \u2013 the likes of Bailey, Donovan and Duffy \u2013 were also catching the eyes of a worldwide audience with their fresh and inventive celebrity, fashion and music photography.<\/p>\n

The marriage of music and imagery was epitomised by the work of photographers such as Terry O\u2019Neill and Gered Mankowitz, both of whom were instrumental in documenting the formative years of the Rolling Stones.<\/p>\n

One of Terry O\u2019Neill\u2019s big breaks partly came out of the death of his Daily Sketch colleague Brian Fogarty, who was killed in a plane crash on the way to shoot a celebrity wedding. Terry was asked to take Brian\u2019s job.<\/p>\n

Terry recalls what happened next: \u2018I walked in there and I said to Len Franklin, who was the Daily Sketch picture editor, \u201cI don\u2019t know what I\u2019m doing here\u201d, and he said, \u201cWe think youth is on the rise and is going to change the world. We want you to photograph that\u201d.\u2019<\/p>\n

Terry\u2019s first assignment was to photograph the Beatles recording at London\u2019s Abbey Road Studios.<\/p>\n

\u2018They were doing She Loves You, or whatever their first hit was. That image was published and the paper sold out. Then the phone rings and it\u2019s Andrew Loog Oldham, the Rolling Stones\u2019 manager. That\u2019s how I got to take all those images in the book. I started at the top, and I never looked back.\u2019<\/p>\n

A musical connection<\/h2>\n

Terry had a close affinity with music before becoming a photographer.<\/p>\n

\u2018I was a jazz musician, playing professionally at the time,\u2019 he says. \u2018I was playing in the American Air Force bases and in London jazz clubs at the weekend. So that\u2019s why the Daily Sketch took me on. They wanted someone young and who could get on with young musicians. I was playing modern jazz, but I loved the blues. I used to go and listen to this group down in Richmond, who were the Rolling Stones, so I knew who they were when I got the phone call. I loved the blues so it was right up my street. In fact, I think their music was better then than it is now.\u2019<\/p>\n\t\t

\n\t\t\t\"A\t\t\t

A rehearsal for ABC\u2019s Thank Your Lucky Stars TV pop music show, 1964, by Terry O\u2019Neil
\u00a9 Iconic Images\/Terry O\u2019Neill<\/p>\n\t\t<\/div>\n\t\t\n

Terry was also very close in age to the Stones. \u2018I was a year older than Bill Wyman, so I was the oldest one,\u2019 he says. \u2018We all used to go to The Ad Lib Club in London. We used to sit there talking about what we were going to do when all this was over.<\/p>\n

\u2018We were all convinced we\u2019d been given this chance and in a couple of years it would go back to what it was like before, and we\u2019d have to get a proper job. Keith Richards never thought it was going to last and I remember Ringo Starr wanted to open a chain of hairdressers for his old lady. It was so funny.\u2019<\/p>\n

Terry recalls: \u2018At the time I was shooting 35mm mostly, but I did shoot some stuff on a Rolleiflex. The 35mm was with a Canon 7 rangefinder, with an f\/0.95 lens. I loved that camera. It had a trigger handle at the bottom \u2013 it was a fab little camera.\u2019<\/p>\n

He was mainly shooting in black & white and admits: \u2018I always prefer black & white. I did take some early colour. There were lots of pop magazines around in the 1960s, like Rave and Fabulous, and when I used to do the black & whites of the Stones I\u2019d shoot a roll of colour and flog it to them. The market for pictures was incredible.\u2019<\/p>\n

Initially, Terry did his own printing, but admits that as his career went on and he started travelling the world, it was a job
\nhe couldn\u2019t continue. \u2018I\u2019d use good printers,\u2019 he says. \u2018I couldn\u2019t work all day and print all night.\u2019<\/p>\n

Shooting and choosing the images<\/h2>\n

Terry has no idea exactly how many images he shot of the Rolling Stones. \u2018I just shot them any time Oldham rang me,\u2019 he says. \u2018I shot them maybe 20 times in those two years [from 1963 to 1965]. It was thousands and thousands of images.<\/p>\n

\u2018The Rolling Stones were different from the Beatles. The Stones were five individuals, but with the Beatles you always felt they were one \u2013 they were always together, and they spoke and joked around as one. The Stones had their own personalities \u2013 that was the difference I found between the two groups.\u2019<\/p>\n

So did this individuality help Terry when he was photographing the Rolling Stones? \u2018It did in one way because I never really thought I got a great shot of the Beatles, but I did quite like some of the Stones stuff, like when they\u2019re going off to rehearse in the Donmar Studios with all their suitcases. I mean, you didn\u2019t get chances like that with the Beatles. I love those types of pictures. You never see pictures of bands like that any more. It\u2019s all junk now.<\/p>\n

\u2018The Stones had never really been photographed before and to treat them as \u201ctop stars\u201d you had to use your imagination, so that\u2019s what happened.<\/p>\n

\u2018I was friendly with Bill [Wyman], Keith [Richards] and Charlie [Watts]. Mick [Jagger] and Brian [Jones] I wasn\u2019t that close to. But there was always respect between us all because I was really something. I was a young kid who could get people\u2019s pictures in the newspaper, and that was really important. It was like getting a TV show of your own.\u2019<\/p>\n\t\t

\n\t\t\t\"Portrait\t\t\t

Portrait of Mick Jagger in July 1964, by Terry O\u2019Neill
\u00a9 Iconic Images\/Terry O\u2019Neill<\/p>\n\t\t<\/div>\n\t\t\n

Terry admits he often goes through his back catalogue of photographs, as he did when choosing an edit for the Breaking Stones book.<\/p>\n

\u2018It was fabulous to go through them because there are shots you forget,\u2019 he says. \u2018I just photographed the Stones as they were \u2013 that was my style \u2013 so it fitted in great for me.\u2019<\/p>\n

He is honest about being in the right place at the right time. \u2018I had no idea I was going to end up where I ended up in life,\u2019 adds Terry. \u2018It was just fate, really. I can\u2019t believe the first time I photographed the Beatles and the Rolling Stones, and then in 1966 and \u201967 I worked with Frank Sinatra. \u2018I\u2019ve had an unbelievable career, really. Nobody could have a career like that any more.\u2019<\/p>\n

Mankowitz comes on board<\/h2>\n\t\t
\n\t\t\t\"The\t\t\t

The band relax, by Gered Mankowitz
\u00a9 Bowstir LTD\/Gered Mankowitz<\/p>\n\t\t<\/div>\n\t\t\n

The success of Terry O\u2019Neill\u2019s career actually helped to open the door for Gered Mankowitz to shoot the Rolling Stones.<\/p>\n

\u2018When I went to America for the first time, Gered Mankowitz took over with the Stones,\u2019 Terry explains. \u2018I did 1963-65, and then he was around and I think he worked with them a lot. That\u2019s how the book came about.\u2019<\/p>\n

Gered explains: \u2018In 1964 I met [the singer] Marianne Faithfull socially, and immediately wanted to photograph her. She was managed by Andrew Loog Oldham.<\/p>\n

\u2018I photographed her on London\u2019s Wimbledon Common and in the recording studio, but it was the shot of Marianne inside The Salisbury, a pub on St Martin\u2019s Lane in Covent Garden, that got Andrew\u2019s attention. He asked if I would shoot the Stones, who he also managed.\u2019<\/p>\n\t\t

\n\t\t\t\"In\t\t\t

In the studio, by Gered Mankowitz
\u00a9 Bowstir Ltd\/Gered Mankowitz<\/p>\n\t\t<\/div>\n\t\t\n

A meeting was arranged between Gered and the band in late 1964 and a shoot was set up for early 1965 at Gered\u2019s small studio in Mason\u2019s Yard, London.<\/p>\n

\u2018Those first Mason\u2019s Yard shots were used on a tour programme, record covers and the press,\u2019 recalls Gered. \u2018I was 18 years old when I first started shooting with the band, and although I was confident, I wasn\u2019t very sophisticated in my technique. I am delighted with the images, though, and, looking back, believe that in many ways my lack of experience gives the images their particularity and energy.<\/p>\n

\u2018A few months later I got a call from Andrew, asking if I wanted to go to America with the Stones to photograph the tour. I was just bowled over! It was pretty exciting to be asked to go to America; my first trip there. It was the land of our dreams.<\/p>\n

\u2018All I wanted to do was focus on music photography. Music was my world and everyone in it was around my age. Working with the Stones really underscored my focus and gave me opportunities to pursue a rock music photo career.\u2019<\/p>\n

Although very excited to get his big break on tour with the Stones, Gered admits: \u2018The gigs were so badly lit that it was really difficult to get a good exposure. You have to remember, most of these concert venues were not designed for rock bands. They were sports venues, not theatres, so Mick would often be in the only spotlight and the rest of the band in semi-darkness. That\u2019s why I tried to shoot into the light, just to get something atmospheric.\u2019<\/p>\n

Film and camera choices<\/h2>\n

As for his camera gear, Gered reveals,: \u2018I used a Hasselblad 500C from my earliest sessions, and always shot medium format where I could. If I needed to shoot 35mm I used a Nikon F.<\/p>\n

\u2018My favourite Hasselblad lens was the 50mm Distagon, but I used whatever I felt was most suited to the task at hand. My film of choice was [Kodak] Tri-X, but I used Ilford HP5 a lot, as well. I don\u2019t think we had a whole lot of choice when it came to colour \u2013 Kodak Ektachrome was my first choice.<\/p>\n

\u2018Back in the 1960s, the bulk of the media dealt in black & white images, and therefore the majority of what I shot was always in black & white, although I usually covered most sessions in colour as well.<\/p>\n\t\t

\n\t\t\t\"Brian\t\t\t

Brian and Keith rehearse, by Gered Mankowitz
\u00a9 Bowstir Ltd\/Gered Mankowitz<\/p>\n\t\t<\/div>\n\t\t\n

\u2018Unfortunately, the original colour transparencies were distributed to the media, used for reproduction and were not returned, so they were lost. The bulk of the black & white negatives were kept in my archive.\u2019<\/p>\n

Of the US tour, Gered says that it was, photographically speaking, a frustrating assignment. This was mainly because, by his own admission, he wasn\u2019t technically very confident and on top of that the light was so poor.<\/p>\n

\u2018I\u2019d send over bundles of film to the studio in London for processing and they would send the proofs over to Andrew Loog Oldham,\u2019 says Gered. \u2018I got a little feedback, but I didn\u2019t see any of the photographs until I got back.\u2019<\/p>\n

For the book, Gered says: \u2018I went through thousands of images to come up with a selection that suited the concept of the book. I saw the Stones as being the band I wanted to be part of, and felt completely at one with them.<\/p>\n

\u2018I think my youth contributed in many different ways to the success of my work with the band, and why so many of the images remain important to their history.\u2019<\/p>\n\t\t

\n\t\t\t\"A\t\t\t

A contact sheet showing a studio shoot with the band, by Gered Mankowitz<\/p>\n\t\t<\/div>\n\t\t\n

Tragedy and album covers<\/h2>\n

Following the 1963-65 period, Terry O\u2019Neill only shot the Rolling Stones one more time, after the death of the band\u2019s original leader, Brian Jones. Meanwhile, Gered Mankowitz went on to work with the Stones for a few more years, and even shot the covers of several of their albums, including 1967\u2019s Between the Buttons.<\/p>\n

For people who are considering buying Breaking Stones, what should they be looking out for in the book and in the pictures?<\/p>\n

Terry advises: \u2018Just enjoy a world that doesn\u2019t exist any more. The readers will never see a band like the Rolling Stones so exposed \u2013 exposed, that\u2019s an interesting word \u2013 like they were. They\u2019ll never show that any more. It\u2019s the last of a world where the public will see anything like that.\u2019<\/p>\n\t\t

\n\t\t\t\"Crowds\t\t\t

Crowds of fans held back by police, by Gered Mankowitz
\u00a9 Bowstir Ltd\/Gered Mankowitz<\/p>\n\t\t<\/div>\n\t\t\n

Terry O’Neill<\/h2>\n\t\t
\n\t\t\t\"Terry\t\t\t

Terry O’Neill<\/p>\n\t\t<\/div>\n\t\t\n

In a career dating back to the early 1960s, Terry O\u2019Neill has shot portraits of many of the world\u2019s most famous rock stars, actors, royals, politicians and personalities.<\/p>\n

While working on an airline\u2019s photographic unit, his career took off when his picture of a sleeping politician was published in the Daily Sketch. He moved into newspapers and documented the explosion of youth culture in the 1960s, including the rise of the Beatles and the Rolling Stones. His photographs have been exhibited around the world and now, aged 77, he is still busy working on book and exhibition projects.<\/p>\n

To find out more, visit www.iconicimages.net<\/a><\/p>\n

Gered Mankowitz<\/h2>\n\t\t
\n\t\t\t\"Gered\t\t\t

Gered Mankowitz<\/p>\n\t\t<\/div>\n\t\t\n

Gered Mankowitz began his professional career aged 16, shooting architecture in Barbados. He worked with fashion photographer Alec Murray in Paris and with showbiz portraitist Jeff Vickers in London.<\/p>\n

One of his shots was used on the cover of singing duo Chad and Jeremy\u2019s album in 1963, and he has since carved out a successful career as a music photographer, photographing artists such as Jimi Hendrix, the Rolling Stones, Elton John, Kate Bush and Duran Duran. He was awarded an Honorary Fellowship of the Royal Photographic Society in 2016 and now spends most of his time working on his archive and personal projects.<\/p>\n

To find out more, go to www.mankowitz.com<\/a><\/p>\n

Breaking Stones: Exclusive Amateur Photographer reader offer<\/h2>\n\"Breaking\n

Breaking Stones 1963-1965: A Band on the Brink of Superstardom, by Terry O\u2019Neill & Gered Mankowitz,
\nis published and distributed by ACC Editions<\/p>\n

(ISBN: 978-1-85149-816-1).<\/p>\n

The book is usually priced at \u00a329.95, but Amateur Photographer has teamed up with the publisher to offer a special 40% discount on the cover price for readers of the magazine, making the book just \u00a317.97 (plus \u00a34 p&p).<\/p>\n

To take advantage of this superb special offer, just go to: www.antiquecollectorsclub.com\/uk\/store\/register<\/a> <\/strong>and enter the promotional code STONES40<\/strong> upon purchase.<\/p>\n","protected":false},"excerpt":{"rendered":"

The pop culture of Britain took off in the early 1960s with bands such as the Beatles and the Rolling Stones winning hearts and fans across the world with their style, good looks and self-penned hits. At the same time, a crop of young British photographers \u2013 the likes of Bailey, Donovan and Duffy \u2013 […]<\/p>\n","protected":false},"author":323,"featured_media":80551,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[374],"tags":[],"product-category":[],"class_list":["post-80469","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews"],"yoast_head":"\nBreaking Stones: Documenting the rise of the Rolling Stones - Amateur Photographer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/other.kelsey.host\/amateurphotographer\/technique\/interviews\/clicks-and-stones\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Breaking Stones: Documenting the rise of the Rolling Stones\" \/>\n<meta property=\"og:description\" content=\"The pop culture of Britain took off in the early 1960s with bands such as the Beatles and the Rolling Stones winning hearts and fans across the world with their style, good looks and self-penned hits. 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