One day with Kate Moss
I had done, in 1993, a day with Kate Moss. The remarkable thing is, I have so many well-known pictures of Kate Moss. But the really remarkable thing, which I think is really remarkable, is that all of the shots of Kate Moss, of which there are lots and lots, they were all done in one day. I only ever in my life worked with Kate Moss for one day. And all of these shots that I had taken of her were all done in one day in a villa not far from the house we're in right now called Dungtamsner. And I had her for one day, they flew her down from London. And she was up and coming model. And it was for German Vogue, and they wanted it all to be beauty skin-oriented. And we started the day at 7:30 in the morning, and we worked until ten o'clock at night. So, we actually worked with her for almost 13 hours. She was the only model. That's why there were so many shots. She was a fantastic workhorse at that time. She was just, she did shot after shot, and I always asked her, "Are you ...
alright, you alright?" And in fact, at the very end, when it got to time, and we were breaking down dinner, she actually turned around and said to me. She said, "Today's my 19th birthday." So if you ever see any of these shots, on that day, Kate Moss was 19. So, of course, I did, as I said, many, many shots of her. The shot that we are looking at right now, we had a henna artist come in, a local Henna moroccan artist, who painted the tattoo onto her hand. And I, just showed her the tattoo. She actually showed it to me, and then I saw the shot from that 'cause she held it up to her face like this, and she said, "Here's the tattoo." And then I just devised the shot from what she had almost given me. And I used a very simple clean light with that, sunlight. And she closed her eyes to the sun, it was probably in the mid-afternoon that I did the shot, and then later, when I processed that shot, had a good look at it, I decided that it would probably be, much later, that it would make a good candidate for solarization, which I did. So, of course, I've done solarization before in the dark room, so it wasn't really a problem. So, we did that shot in the dark room much later. So on that day, we started with, you know, natural light. I worked all day with natural light. I did a little bit of strobe. The well-known nude of her. I worked with her on that nude and it was something that I've used several times since. It was the idea of a nymph, a fairy, in the woods, almost Midsummer Night Dream. And I said to her, I said, "Maybe you could get into a position there," of course, she's nude, and I said, "Maybe you can get into a position there "where you're almost like an elf in the woods "or a fairy and about to pounce, or something like that." And we worked that out, and she actually did it very, very well, and that's where that well-known nude shot came from. Even at that time she was a good model, you know. So, the day went on, and that shot that I just mentioned was done in a simple natural light on the roof of the building. The sun then went, and then I built a small studio indoors, and there was also quite a well-known shot of her back. That was done with strobe light against just a canvas. So it was a very classic, almost really classic, nude shot, and completely different from the earlier, natural light shot. But, as I said before, just one day, and I think, in the end, we did about 28 shots in the day. So, sometimes you get lucky. (synth music)