In celebration of his recently published, career-spanning book Photographs, we're looking at some of Gered Mankowitz's milestone collaborations and the stories behind them, in the photographer's own words.
Marianne Faithfull, London, 1964 – Limited Edition Print
"1964 began promisingly, thanks to my connection with producer Chris Blackwell, who was then launching Island Records. Photographing his artists — including the delightful Millie Small, whose ‘My Boy Lollipop’ became Island’s first international hit and introduced Jamaican ska to a wider audience — was a turning point. Another was meeting Marianne Faithfull.
I was smitten with Marianne. She was beautiful, bright and funny, and I immediately asked if I could photograph her. Fortunately, she said yes, and a day or two later I took her to Wimbledon Common for a series of portraits. This led to another session at The Salisbury, a pub on St Martin’s Lane in Covent Garden, which produced the image that became the cover of her second studio album, Come My Way.
After several more memorable and highly productive sessions with Marianne, her manager, the charismatic producer and impresario Andrew Loog Oldham, invited me to photograph another of his emerging acts: a band of blues-loving English lads called The Rolling Stones."
The Rolling Stones, London, 1965 – Limited Edition Print
"The mid-1960s was an incredible time to be with them, both in London and on the road. I joined them for the 1965 autumn US tour – my first trip to America – and saw first-hand the chaos, glamour, and grind that defined life at the top of the charts.
We travelled in limos and even had the band’s own plane, but most nights ended in anonymous motels in the small hours, drinking beer and eating hamburgers. The shows were short but explosive, often interrupted by nervous local authorities worried by the crowds. There were moments of real drama – Keith being electrocuted mid-song in Sacramento, for example – and moments of sheer absurdity, like Brian heading out on the ocean in a hired speedboat in Miami ‘to be with the seagulls’. It was exhausting, repetitive, at times surreal, but ultimately exhilarating to be inside that whirlwind."
The Jam, London, 1977 – Limited Edition Print
"My good friend, the designer Bill Smith, asked me to work with The Jam on their first album, This Is the Modern World. We chose a location beneath a motorway for its stark, brutalist atmosphere — a visually harsh and appropriate representation of the modern world.
The band were not wildly communicative and seemed slightly intimidating, so it was with some trepidation that I asked Paul Weller if he had brought any other clothes. He asked why. I explained that his sweater was not particularly photogenic. Without missing a beat, he grabbed some gaffer tape and placed two perfect arrows on his chest. ‘Any better?’ he asked.
‘Perfect,’ I said."
Kate Bush, London, 1978 – Limited Edition Print
"EMI Records were regular clients and asked me to discuss a new artist they had been developing. When they first played me ‘Wuthering Heights’, I could hardly believe what I was hearing. It was so original and enthralling, and I knew immediately that they needed an image that would captivate people.
They already had an album sleeve, but it did not lend itself to a marketing campaign, so they asked me to come up with an image. I watched the video a couple of times and realised how important dance and movement were to the very young and gifted Kate Bush. I proposed that she wear leotards and dancers’ rehearsal clothes.
I met Kate a few days later and we hit it off straight away. I brought a couple of leotards and accessories, and set up a battered canvas background that I thought would set off her beauty, together with very simple daylight lighting. I chose the marvellous make-up artist Kirsty Climo because I felt she would be sensitive to Kate’s youth and would not overwhelm her.
When Kate stepped out of the dressing room in the pink leotard, I knew we were going to create some stunning images together."
Oasis, London, 1994 – Limited Edition Print
"At first I thought of Oasis as a kind of Stones/Beatles tribute act, so for our shoot for Mojo I proposed a pastiche of Between the Buttons on Primrose Hill. My own studio was unavailable, so I rented one nearby in Chalk Farm.
When the band arrived, mayhem ensued. Liam kicked everything in sight. Noel stormed in, collapsed on a sofa and fell asleep. Their young label rep was ineffectual, but fortunately I knew their tour manager, Robbie, a towering ex-Marine, who quickly persuaded them to cooperate.
Once they saw the first Polaroids, they were as good as gold. The Primrose Hill shot became a memorable cover."
These stories are taken from Gered Mankowitz: Photographs, signed copies of which are available to order here.