Arca

MH: For whom did you take the picture and what camera did you use?

KC: Probably a Nikon FM. The photo was for a Manchester »What’s on« magazine: »The New Manchester Review«. We got an exclusive with The Clash and didn’t even put it on the cover…

MH: What do you remember about the shoot?

KC: We were offered a short on-the-road piece with The Clash. We travelled down to London from Manchester, met up with the band in Notting Hill, West London, then travelled in a kind of converted mini bus back up the country to Leicester in the midlands. I’d met them several times in Manchester and at Buzzcocks gigs, but I was slightly in awe of them. They were a real rock band. I took a few photos in the van but the light was poor – then, by the time we arrived in Leicester it was dark. I was slightly worried that I’d end up with mainly live photos. I took quite a few shots in the dressing room while they were talking to one another. They weren’t really posing for photos and I didn’t want them to. I wanted it to be more casual – relaxed. I’ve got a really good selection of photos from this session – including some great live shots. They were a very photogenic band.

MH: What’s Simenon looking at? Did you ask him to look away from the camera? How do you decide whether you want someone to look at you – or not? Or do you always shoot as many variations as you can?

KC: Simenon was more conscious of the camera than the other three. He knew how to pose – the others weren’t as bothered. I just sat there half listening to them chatting about stuff – music mainly – waiting until Simenon was listening to something Mick Jones was telling him. Then I took the photo. It looks posed but it isn’t. Well, it probably is slightly. But I didn’t direct him. The important thing with a shot like this is to frame it carefully.

MH: The hat suits him very well. I’ve asked this before, I think: Did you think about asking him to take of his hat? Are you interested in what a person you’re photographing might be hiding from you?

KC: No. The hat helps to frame the image and his face. If an artist, musician or any subject is known for wearing a hat, then use it to your advantage. That’s how Simenon was back then  – it wouldn’t have helped the shot to ask him to remove the hat.

MH: What was/is it like shooting backstage in general? More relaxed? More stressful? It’s a privilege to be allowed backstage, isn’t it? I bet you’ve got quite a few interesting backstage stories to tell…

KC: This was shot backstage out of necessity. It was the only place with half-decent light. If you are invited into a dressing room, you have to respect that it’s the band’s private space. I don’t get too involved with them. I’m there to take photos. If they are having a conversation about band issues it’s sometimes best to leave the room. However by not joining in and by sitting quietly taking photos, you aren’t really getting in the way. Bands are often happier having a photographer backstage than having a journalist around. Often things happen backstage that they wouldn’t want out in the public domain. Yes, I’ve seen lots of things going on – from smoking crack-cocaine to well, er, use your imagination… I don’t kiss and tell. You have a very short career if you betray a confidence. When you are invited into someone’s home – respect it!