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Jim Marshall: Johnny Cash at Folsom Prison 1968 LP cover image. Archival photograph in a limited edition of 25. Image size 20x20 inches on 22 x 23 inch paper. A stamped numbered estate print issued by the Jim Marshall Estate. Price is shown for an unframed example excluding VAT.
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Two of my favourite artists of all time and longtime friends too. I wanted to shoot them together with the most intimate and direct approach. This photo was taken during their only tour together in 2002. It was shot in a corridor backstage, after the concert, at 1.30am, when I had lost any hope this would ever happen. Another one of my favorite images.
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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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At the end of an unheard-of full day of shooting, Joni showed me the huge living room in her Bel Air house. She had just been shot by Herb Ritts for an all star Gap campaign and she hadnt resisted painting over the posters. So I asked her to dress up exactly like in Ritts photo and proceeded to shoot her from above. She stopped me, grabbed a few brushes and started doing wild things with them. Years later she laughed, saying her husband had noticed she had her jeans fly open!
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1996 was the year when Patti Smith made her big comeback with Gone Again after a long and painful period of personal losses. She was adorable in the company of her bandmates, her kids and longtime friends Tom Verlaine and Michael Stipe. She accepted to be photographed and was very appreciative of our photographs.
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I knew David very well, but I had never had a real opportunity to shoot Fripp. This was in a hotel room in Milano in between press interviews. Fripp surprised everybody in the room, including David, when he started recollecting the quite infamous anecdote about Agnetha of ABBA. Yes, the one you hear in the movie Priscilla. I'll say no more.
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Zappa has always been one of my heroes and in 1982 I set out to put him on the cover of the prestigious Uomo Vogue magazine. No mean feat as 1982 was the year that Armani and Italian fashion exploded worldwide and FZ was not exactly what youd expect on Vogue. He lay down on dozens of music parts for orchestra that he was very proud of (at the time no orchestra had ever played any of his music, with the exception maybe of Pierre Boulez). The title of the one hes holding says it all: Zappa The Perfect Stranger.
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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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Guido Harari shares the background to this beautiful photograph: "In 1989, Crosby was clean and on the go with his second solo album, Oh Yes I Can. I always had been attracted by his face and this was my chance in a lifetime to capture his newfound serenity. He and Graham Nash, a true expert in photography, fell in love with this image and a few years later it appeared on Crosby's Thousand Roads album cover. Twenty-five years later Crosby agreed to co-sign a very limited edition of 15 fine art prints, which makes this image even more special to me." Note that a regular version is available, signed by Guido Harari alone, in a range of sizes, here. Archival limited edition pigment print on 16 x 23 inch paper, signed and numbered on the front by Guido Harari and David Crosby. Image size 11 x 21 inches approximately. Edition of 15.
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Archival limited edition photograph on 18 x 30 inch paper, signed and numbered by Gered Mankowitz on the front, and embossed with Gered's official archive stamp Edition of 25 in this size. Unframed price excluding VAT
