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This is one of my signature photographs. Peter Gabriel in full Shock The Monkey make-up in a hotel gents in Sanremo where he was due to perform that song at the famous music festival. A bunch of images from this shoot later appeared on tour programs and on the remastered edition of Peter's 4th album.
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Meeting Robert Wyatt was one of the most moving experiences ever. While in Milano to promote his Wrong Movements book, he suddenly started crying as he heard some Soft Machine music playing in the background. He appeared as a very fragile and desperate man. As we wandered in the park with his wife Alfie we saw this huge leafless tree. As I positioned him and his wheelchair near the tree, I thought I'd shoot him as one with the old tree to get an idea of solitary but fierce strength.
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The Eighties, oh my. Siouxsie was on tour with a band that featured none other than Robert Smith. Audiences got wild every time the concert lights (barely nonexistent) would briefly hit him. On the day of the shoot Robert was nowhere to be found, so I let Siouxsie stick to her reptile and sensuous Theda Bara routine.
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The Police during the Reggatta De Blanc tour. The set was improvised in their hotel, the shoot was very quick as they were restless and very self-conscious of their quickly growing superstardom. They used several of these photos for the 1981 official calendar.
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TOM WAITS, cafe, Paris, 1992 Guido Harari recalls: This photograph comes from the same sitting in Paris as the photograph of Tom running with a cape on. Again, this was 1992 and Tom was promoting his Bone Machine album in a café in the beautiful Place des Vosges. He insisted I shoot him while he was having brunch. He couldnt care less about his face dismorphing while he was munching away. I love that crazy and inquisitive Van Gogh look in his eyes. Time seems suspended for a fraction of time: what next?"
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TOM WAITS in the kitchen, Santa Rosa, California, 1999 Guido Harari recalls: “In 1999 Tom was promoting a new record, “Mule Variations”, but wouldn’t move from his headquarters in California. So he had press and photographers flown in from all over the world to Santa Rosa. The tiny Chinese restaurant seemed like his natural hangout and he didn’t seem inclined to even go outside the door to be photographed. Suddenly he grabbed the owner’s apron in a frenzy and dragged me in the kitchen, where he proceeded to fool around with pots and pans, pretending he was some kind of demented chef. My motor drive was smoking from action and this shot captures the zaniness of it all.”
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Guido Harari recalls: This is one of my favorite photographs. It was taken in Place des Vosges, in Paris, in 1992, while Tom was promoting his Bone Machine album. I had already used my time as granted by his record company and was having a coffee chatting with a French photographer friend. When his time came to shoot Tom, my friend invited me to attend the sitting. This was still the age of analogue photography and, once he finished his roll of film, he had to stop and reload his camera. Restless and provocative as ever, Tom tore down the photographers backdrop and, using it as a cape, he started running up and down this courtyard. The guy was so shocked that he couldn't capture this unexpected moment of madness, but I did instead. I started running with Tom, chasing and teasing him all along and managed to get this shot within a couple of rolls of film. Tom loved the shot. I don't know about the other guy!
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Archival silver gelatin photograph made in the darkroom from the original negative by specialist handprinter Barbara Wilson on 8 x 10 inch paper, image size 7.5 x 7.5 inches (19 x 19 cm), edition of nine in this size worldwide, signed & numbered by Gered Mankowitz on the front under the image area.
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Archival silver gelatin photograph made in the darkroom from the original negative by specialist handprinter Barbara Wilson on 8 x 10 inch paper, image size 7.5 x 7.5 inches (19 x 19 cm), edition of nine in this size worldwide, signed & numbered by Gered Mankowitz on the front under the image area.
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Archival silver gelatin photograph made in the darkroom from the original negative by specialist handprinter Barbara Wilson on 8 x 10 inch paper, image size 7.5 x 7.5 inches (19 x 19 cm), edition of nine in this size worldwide, signed & numbered by Gered Mankowitz on the front under the image area.
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Archival silver gelatin photograph made in the darkroom from the original negative by specialist handprinter Barbara Wilson on 8 x 10 inch paper, image size 7.5 x 7.5 inches (19 x 19 cm), edition of nine in this size worldwide, signed & numbered by Gered Mankowitz on the front under the image area.
