[b. 1942] Scottish fashion, celebrity and art photographer
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It doesn't matter if you're photographing a porter in a market in Marrakech or you're photographing the king of Morocco. You have the same sympathetic approach to everybody. You be nice to everybody, basically.
Basically I’m always looking for things. Any good photographer should always be looking for something, you know.
A lot of my pictures are confrontational and controlled; they're not observational or voyeuristic. I aim to create something that is strong, powerful, memorable, interesting and technically correct, not lazy!
Really good portraiture is a two-way street where someone is throwing little gems out and you’re grabbing them. Very few people have a 100 percent fluency in being able to do to do this—this kind of magical reaction with a camera.
I use the discipline learned at art college every single day. I'm not a naturally technical person; it's something I had to learn. I started out producing something I thought was brilliant on the day and the next I'd look at it and put it in the garbage. There was a lack of technical fluency to my work. Therefore I saw the improvement of the technical aspects as an aid to the creative, not a suppressant!
