Jimi Hendrix, Rolling Stones and Kate Bush: Multi-million pound deal could turn them into 3D artwork | Photography

British photographer Jared Mankowitz With an archive spanning 60 years, it documents a remarkable array of stars including Jimi Hendrix, The Rolling Stones, Slade, Elton John and Kate Bush. Now, he hopes, after selling the lot to a company that plans to use digital technology to transform images and the like into three-dimensional works of art, the vast treasure trove will be given a new lease of life.

Mankowitz is the latest high-profile photographer to sell the rights to his imagery, following similar moves by well-known musicians: Bob Dylan and Bruce Springsteen are among the many selling their recording and songwriting rights for large sums of money one of the people.

Brigitte Bardot filmed in Spain
Brigitte Bardot photographed in Spain, 1971. Photo: Terry O’Neill/Iconic Images

The Cornwall-based photographer believes it’s about creating a legacy of his work, as well as his multimillion-pound savings at the age of 76. “My job is going to be elevated to a new level that I can’t reach on my own,” he said this weekend. “I’m very excited.”

He has transferred tens of thousands of negatives, transparencies, and digital scans into Iconic Images, with unpublished photos owned by the American giant Authentic Brands Group (ABG), which owns some of the world’s most famous music stars. Right, screen and movement.

“AI can now let me shoot six or seven negatives Jimi Hendrix Iconic Images CEO Robin Morgan said:

“It also recreates the scene, so if Gered Mankowitz is shooting Jimi Hendrix in the studio, it can be digitally recreated in a specific room where people can walk in and participate in the shoot.”

The company already owns the archives of photographer Terry O’Neill, as well as the branding rights to boxer Muhammad Ali, singer Elvis Presley and actor Marilyn Monroe, among others.

The Rolling Stones at Primrose Hill in London in 1966.
The Rolling Stones in Primrose Hill in London in 1966. Photo: Gered Mankowitz/Iconic Images

Any artist’s worst nightmare is having their work associated with an unfortunate product or cause, says Peter Feltman, who is The power of photography. “Often, the heirs of great photographers are completely unable to preserve the legacy, or even organize the archives in a professional manner. Large museums do not have the capacity or interest to do so. It is absolutely necessary to preserve the legacy of these great photographers”

But he believes Iconic Images won’t do it. “They don’t spoil the image by putting it on cheap sneakers. They make good judgment.”

Mankowitz says The importance of music photography Not appreciated early in his career. “In the 1960s, album covers tended to be made from photographs that already existed. The prevailing attitude was that album covers were just packaging. That all changed in the late 1960s and 1970s.”

The photography class was so relaxing that the star would be sent to his studio: “It’s just me and them. No security, no makeup, no hair, no stylist, and no record label people. The kind of access and intimacy absolutely is the key. As it fades away, not only does it become less fun, but there are just too many barriers, too many people getting in the way.”

Kate Bush, London, 1978
Kate Bush, photographed in London in 1978. Photo: Gered Mankowitz/Iconic Images

A 1965 collaboration with the Rolling Stones led to the cover beyond our expectations. He tucked the band into a triangular space formed by an exterior building site hoarding.

“In those days, the album cover wasn’t really planned or conceptualized. But I learned that you had to take a photo that was suitable for the cover, and make a name for the band, the album, and—very importantly—the record label. The logo leaves room. This particular combination fits the bill. I suggested they squeeze into this narrow shape, and they did. Without any superficial attitude.

The Rolling Stones then asked him to photograph them on and off stage during their 1965 U.S. tour, which lasted six weeks, and he also produced photographs for other albums, including between buttons, which includes a cryptic portrait: “It was after an overnight recording, and I dragged them to Primrose Hill because I liked the way they looked—the ragged, stoned, downcast look,” he said. “I wanted to capture that and add to it with a homemade glass and Vaseline filter. It seemed to fit the era and the music.”

He remembers laughing twice with Hendrix in 1967. He’s nothing like a rock maniac. He enjoyed the fact that he was taken seriously as a solo musician. I think this can be seen in the pictures. “

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