{"id":98186,"date":"2016-12-04T07:30:57","date_gmt":"2016-12-04T07:30:57","guid":{"rendered":"http:\/\/amateurphotographer.co.uk\/?p=98186"},"modified":"2016-11-29T15:37:00","modified_gmt":"2016-11-29T15:37:00","slug":"rock-ages-mick-rock","status":"publish","type":"post","link":"https:\/\/other.kelsey.host\/amateurphotographer\/technique\/interviews\/rock-ages-mick-rock\/","title":{"rendered":"Mick Rock interview: Shooting David Bowie portraits"},"content":{"rendered":"\t\t
\n\t\t\t\"David\t\t\t

David Bowie pictured during his UK summer tour, May-July 1973<\/p>\n\t\t<\/div>\n\t\t\n

Mick Rock has nigh on the ultimate rock-star name (which is his real name, by the way), looks like a rock star and has a coterie of rock-star friends that has included David Bowie, Lou Reed, Syd Barrett and Iggy Pop. When I met him recently at the Taschen bookstore in central London, a queue was snaking around the corner of the shop waiting for Mick to sign copies of his latest tome, The Rise of David Bowie 1972-1973<\/em>, so it was clear, Bowie association aside, that this was one photographer who had his own fan base.<\/p>\n

Inside the store I asked Mick what made him first pick up a camera. He laughs and replies: \u2018LSD. I was studying modern languages and literature at Cambridge and took an acid trip one day with a friend and a couple of other people. I picked up a camera \u2013 his camera, because I couldn\u2019t afford one \u2013 and that just started everything. Then, after a bit, this friend of mine said: \u201cOh, this local band needs some pictures and they\u2019ve got a fiver to pay you,\u201d and I thought, \u201cI\u2019ll take it\u201d. Then it just kind of kept rolling.\u2019<\/p>\n

Mick adds: \u2018I wasn\u2019t looking to take pictures, which seemed very easy to me, but I liked the kind of visceral, non-cerebral thing when it came to taking photographs and it never stopped. I already knew Syd Barrett [of Pink Floyd], who was not at Cambridge University but he was from Cambridge, and I\u2019d shot a couple of other bands. I remember I\u2019d shot a version of The Pretty Things and a band called Eire Apparent, and some other bits and pieces because I was popping down to London. Then, of course, I shot Syd. I suppose those were the first pictures of mine that people know \u2013 The Madcap Laughs<\/em> album ones and the outside ones. I was also doing a couple of album covers for Rory Gallagher.\u2019<\/p>\n\t\t

\n\t\t\t\"David\t\t\t

David Bowie, Aberdeen, 16 May 1973<\/p>\n\t\t<\/div>\n\t\t\n

Meeting David Bowie<\/h2>\n

Mick combined his photography with conducting interviews, \u2018…which would save a publication some money because they could combine the two fees and it made me some extra money,\u2019 he explains. \u2018That was how I met David Bowie \u2013 I went to interview him for a magazine so I got to know him a bit. It was more than just taking photographs \u2013 we talked about certain common interests, not the least of which was Syd Barrett. Then, of course, lurking over the ocean were Lou Reed and Iggy Pop, who were not particularly known at that point because they hadn\u2019t been able to get dogs to p**s on their records. Lou had done a solo album with RCA, which had done nothing, and David\u2019s star had [risen]…\u2019<\/p>\n

He adds: \u2018When I first met David there were 400 people at the show in Birmingham Town Hall, so he had a little bit of a cult following. It was really the album Hunky Dory<\/em> that turned me on to David, especially the Life On Mars?<\/em> track, which, many years later, I did the videos for, alongside a bunch of other stuff. He gave me the copyright to the visuals.\u2019<\/p>\n

Of his relationship with Bowie, Mick explains: \u2018We just hit a certain dynamic. I wasn\u2019t really bothered about money. Bowie would invite me to things and I\u2019d go to a couple of clubs \u2013 my wife and his wife \u2013 and it just kept rolling along right in front of my camera. It did so for 21 months and obviously the book bears some of the fruit of this period, but by no means all of it. I\u2019ve got more than 5,000 photographs just of the Ziggy Stardust period alone.\u2019<\/p>\n

Mick continues: \u2018Then, through David, I met Lou Reed and Iggy Pop when they came to London to make records Bowie was producing and it just kept going. Then came Queen, Rocky Horror, Roxy Music… I mean, I suppose they were certain kinds of bands and there was a new vibe to it all. I think we all thought that the Beatles and the Stones were a bit passe\u0301.\u2019<\/p>\n

Mick is keen to point out that his career was far from over when the 1970s stopped. \u2018People say: \u201cOh, you\u2019re the man who shot the \u201970s,\u201d as if at midnight in December 1979 I dropped my cameras and went home to mummy.\u2019<\/p>\n\t\t

\n\t\t\t\"David\t\t\t

David Bowie and guitarist Mick Ronson on stage at the Empire Theatre, Liverpool, 10 October 1973<\/p>\n\t\t<\/div>\n\t\t\n

Clients and health problems<\/h2>\n

Perhaps surprisingly, Mick\u2019s client list wasn\u2019t all that big in the 1970s. \u2018There weren\u2019t many publications,\u2019 he says. \u2018You could make a few dollars or pounds here and there, but you\u2019ve got to remember the state of the media back then… there weren\u2019t that many publications, there were really only the rock publications.<\/p>\n

\u2018I had done some album covers as well and a bit of art directing,\u2019 Mick continues. \u2018There wasn\u2019t a lot of money in it because the record companies just wanted cheap pictures. The good thing was no one used the phrase \u201ccopyright\u201d or \u201cintellectual property\u201d. I started hearing that much more in the late \u201980s when people started saying, \u201cOh, you know, your intellectual properties,\u201d and I said, \u201cWhat are you talking about? They\u2019re photographs; they\u2019re pictures\u201d. But, of course, they turned out to be what they are. Maybe I\u2019d sell a picture like \u201cBowie in the mirror\u201d for \u00a325 back then, but now you\u2019ve just got to sell one print, even a smaller size, for a lot more money than that.\u2019<\/p>\n

Mick adds: \u2018I kept shooting and it all just kept rolling along until 1996, when I had quadruple bypass heart surgery. Well, I had developed a serious 20-year cocaine habit in New York and was chain smoking, which was what really did it. My doctor said it was really the cigarettes that did me in, but of course without the cocaine I wouldn\u2019t have smoked that many cigarettes.\u2019<\/p>\n

Mick came out of hospital in early 1997 and explains: \u2018One thing with not doing cocaine all day is you have a lot of time on your hands, but also, at the same time, there was interest in my early work and suddenly there was \u201cclassic rock photography\u201d and whatever. \u2018Then I started to shoot some of the newer acts and then the books came along and the first exhibitions, and everything just got going again.\u2019<\/p>\n\t\t

\n\t\t\t\"David\t\t\t

David Bowie, Haddon Hall, Beckenham, Kent, March 1972<\/p>\n\t\t<\/div>\n\t\t\n

Keeping the archive<\/h2>\n

Amid the chaos of his own drug- fuelled lifestyle, Mick managed to keep all his negatives and slides. Is he glad he did so? \u2018Well, yes, because it would have been easy to have slung it in the corner and have forgotten about it. The value of the archive was building throughout the late \u201990s into the new millennium, and then over the last decade I didn\u2019t know what I could sell. But just my Bowie collection from that period \u2013 forget the others \u2013 well, I know we\u2019re talking into the millions. Then I\u2019ve got all these other pictures, but I\u2019m not quite ready to lay down my camera and have people p*** on my pictures, so I keep it controlled.\u2019<\/p>\n

As for preparing the Bowie book, did going through the archive prove to be a pleasurable experience? \u2018 I don\u2019t know,\u2019 says Mick. \u2018Once I commit to something I tend to do it, and once I\u2019m doing things I intend to enjoy them. It wasn\u2019t that I was desperate to explore the past, but I was curious about all these previously unseen pictures as well. So it\u2019s what I do. I like to shoot \u2013 that\u2019s my favourite thing still, because obviously I spend a lot of time buggering about with the past. I have lots of mates who have done books as well and people just love the old work.\u2019<\/p>\n

Taschen\u2019s \u2018Sumo\u2019 version of the Bowie book was published in autumn 2015, so did Bowie know about this book? Mick shoots back: \u2018Well, he co-signed it, so of course he knew about it. I wouldn\u2019t do it without him being involved.\u2019 But did Mick know the extent of Bowie\u2019s health problems? \u2018No,\u2019 he replies. \u2018I thought it was still related to his strokes. I didn\u2019t know \u2013 he was very strong about the cancer factor. But we did a lot of emailing and we saw each other once during the process. He saw everything; nothing went out without him first seeing it.\u2019<\/p>\n\t\t

\n\t\t\t\"David\t\t\t

David Bowie on board the luxury liner the QE2, Southampton, Hampshire, January 1973<\/p>\n\t\t<\/div>\n\t\t\n

Bowie videos and digital<\/h2>\n

Alongside his stills, Mick also directed seminal music videos for Bowie, including Life on Mars<\/em>, The Jean Genie<\/em>, Space Oddity<\/em> and John, I\u2019m Only Dancing<\/em>. He reveals: \u2018I did a few others over the years too, but we\u2019d just talk about it \u2013 like, \u201cIf we get time tomorrow…\u201d They were done for nothing and there weren\u2019t many out there, but David knew I was interested and had a couple of little experimental things. David loved it, but he mostly let me get on with it because he didn\u2019t have time, and he\u2019d say: \u201cLet\u2019s do this, Mick,\u201d and I\u2019d go, \u201cYeah, we\u2019ll do it!\u201d I\u2019d show him the completed thing and he\u2019d say, \u201cFantastic, Mick\u201d, because he didn\u2019t have time as his whole thing was in motion.\u2019<\/p>\n

Mick adds: \u2018I don\u2019t recall Bowie being very critical of anything \u2013 he just encouraged me. He was a great encourager, David \u2013 he was not someone who\u2019d say, \u201cOh, I don\u2019t like that\u201d. There was none of that bulls**t going on. He wanted things to keep happening \u2013 he was a unique personality. He was like Picasso \u2013 he was always producing new stuff and different stuff; that was what was interesting about David. So here I am… and I\u2019m not sorry!\u2019<\/p>\n

So has Mick now embraced the digital age? \u2018Mostly I shoot digital \u2013 why not? I like the instantaneity of it,\u2019 he says. \u2018Mostly I shoot with aCanonEOS5DMarkIII\u2013Ilike the speed of it as I don\u2019t want to miss anything.\u2019<\/p>\n

Friends and future projects<\/h2>\n\t\t
\n\t\t\t\"Lou\t\t\t

Lou Reed, Transformer, 1972<\/p>\n\t\t<\/div>\n\t\t\n

Mick has a few fellow photographers who are friends, but he is not immersed in photography. \u2018I did a beautiful book \u2013 called Transformer<\/em>, believe or it or not \u2013 with Lou Reed just before he died. He didn\u2019t get around to signing all 2,000 copies, so we\u2019re going to reinvigorate it, going to add pictures. I\u2019m going to write a piece for it and get another couple of people to write pieces for it and maybe co-sign it.\u2019<\/p>\n

Mick concludes: \u2018I\u2019m talking about a new book and I\u2019ve got this documentary called Shot! The Psycho-Spiritual Mantra of Rock<\/em> done, so I want to do a companion book to go with that title. Then I\u2019m doing a book with my friend, the actor Norman Reedus, who is best known from the TV show The Walking Dead<\/em>. So those are in the works.\u2019<\/p>\n\t\t

\n\t\t\t\"Queen\t\t\t

Queen II album cover, 1974<\/p>\n\t\t<\/div>\n\t\t\n

Mick Rock is an English photographer and filmmaker known for his imagery of stars such as David Bowie, Iggy Pop, Queen and many others. His photographs have featured on the covers of more than 100 albums, . He also directed several of Bowie\u2019s seminal music videos. He still photographs the music stars of today, including Pharrell Williams and Alicia Keys. For more, see www.mickrock.com<\/a>.<\/em><\/p>\n\"The\n

Mick Rock\u2019s book The Rise of David Bowie 1972-1973 (ISBN 978-3-83656-094-8) is published by Taschen, price \u00a349.99. It features 200 classic images from Bowie\u2019s iconic Ziggy Stardust and Aladdin Sane periods (around half of which had never been published before) when Mick Rock was Bowie\u2019s personal photographer and videographer. Visit www.taschen.com<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Mick Rock has been photographing the world\u2019s biggest rock stars for more than 40 years. He spoke to Steve Fairclough about his career and new David Bowie book<\/p>\n","protected":false},"author":323,"featured_media":98197,"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-98186","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews"],"yoast_head":"\nMick Rock interview: Shooting David Bowie portraits - Amateur Photographer<\/title>\n<meta name=\"description\" content=\"Mick Rock has been photographing the world\u2019s biggest rock stars for more than 40 years. 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