So Shots magazine contacted us and asked if I was interested in being interviewed for an article in their Cannes 150th Special Edition magazine.
Never being one for turning down the opportunity for a bit of PR I said I’d do it, but also being a bit cheeky I got my lovely assistant Catriona to enquire about the possibility of being on the front cover.
Shots very politely explained that the decision for the cover was made once they had their hands on all of the supplied images for the various articles.
Obviously I thought it would be nice to be in with a chance so I started to scribble out a few ideas that would be relatively quick and simple to shoot for next to no money.
It’s the way I tackle any creative problem insofar as I can’t seem to get my brain engaged without a black Pentel sign pen and an A4 Goldline layout pad in my mitts.
I churned out about a dozen scamps but one in particular made me chuckle. It was an idea to illustrate my thoughts on the changing role of creatives, and how they used to be seen as the geese that laid the golden eggs. But I thought they’d never go with that so I made sure there were a few ‘safe’ options in reserve.
Then I phoned my old mate the very talented photographer Sean de Sparengo and asked him if he was up for it… Thankfully he laughed even more than I did and there followed a fun day piss-ballin’ about in front of the camera at Pear Tree studios.
The only slightly uncomfortable moment came when Sean informed me that he’d have to put a reflector under my bare arse, which effectively was the same as squatting over a mirror.
…It certainly took a few man-hours of skilful manipulation by Oli Carver to retouch the ‘clench’ out of my buttocks.
Delighted with the end result I showed my Missus Anna… ‘You can’t give them that’ she said when she saw the bare arse shot.
I felt the same but I did what I normally do in those situations when I’m a bit nervous about a piece of creative work: I absolutely ignored myself and sent it to Shots anyway.
Apparently it split the vote a bit and they needed some time to think about it.
It’s funny how a few weeks later when I told Anna the news that Shots probably wouldn’t be running the photo on the cover she changed her tune and said ‘No! They’ve got to run it’.
It’s probably how clients feel when they’re shown a new piece of work. They really do need a bit of time to get comfortable with it.
It all seemed to work out OK in the end because my smiling face and rosy cheeks made the cover.
All in all one of the proudest moments of my career.
This one seemed to stand out a bit…
The Real Deal.
Photographer – Sean de Sparengo at MADAM and F62.
Retoucher – Oli Carver.