Photographer Danny Clinch is one of the most distinguished artists in his field, particularly when it comes to portraits of musicians. His new book, "<a href="http://www.abramsbooks.com/Books/Danny_Clinch-9781419708701.html"target="external">Still Moving</a>," chronicles his illustrious career.
In his foreward to the book, Bruce Springsteen is quoted as saying, "A disciple of the church of rock and roll's great image men and women, Danny Clinch is as spontaneous as the Leica, his holy medal, slung around his neck. Danny's my patron saint of new rock dreams. Shoot on, brother."
Danny Clinch/Abrams Books
"For Springsteen's 60th birthday, I did a gallery show in Asbury Park of all my Springsteen photos I had shot in New Jersey. I invited Bruce, but he could just never get there. I was going to take the show down and my dad offered to help. I texted Bruce again and the next thing you know, Bruce and Patti [Scialfa] roll up in a '51 Hudson. My dad had a '50 Hudson when he was younger. Patti offered for my dad to take it for a drive. He was hesitant, so Bruce just stuck the keys in my dad's hand and said, 'Max, you can't kill this car. You gotta drive it. C'mon man!'"
"I photographed Tupac for Rolling Stone. That assignment came up and I was super excited about it. Tupac came with one other guy to my studio and he was very excited to be photographed for Rolling Stone. The camera really loved him, as they say, and he was a great collaborator, participating in the photo shoot and giving back to me in a lot of ways. I saw his tattoos and said, 'Wow, we should shoot one with your shirt off. Those tattoos are awesome.' And he agreed. He was a real pro. I really liked him. I certainly didn't know he was going to die three years later."
"Radiohead was playing at Liberty State Park in August 2001. At the time, whenever they'd come to New York, we'd hang out at my place and play some blues, or just kick around and go out to some really small dive bars, where nobody would know. They were taking the ferry over right by my apartment in the city and said, 'Why don't you just ride over with us on the ferry?' It was actually myself with my wife and kids. Halfway through, I saw the skyline in the background and suggested we grab a picture. I asked Thom [Yorke] and he agreed, so I shot a couple of frames with my Leica and that was it."
"That was right before their show, they were getting warmed up. I think it was the L.A. Coliseum. The show was performed in the round. I met the Beastie Boys when they did the Tibetan Freedom Concerts. What I remember most about it was how intimidated I was, because in my world growing up, the Beastie Boys were the coolest cats. What I totally remember is that they were so nice, respectful, funny and relaxed. They just treated everybody really well and always seemed to want a good time and be positive. They certainly started as punks, but they didn't go out as punks."
The Black Keys
"I was shooting the band for Rolling Stone magazine. I flew out to Akron, Ohio, and we were hanging out at Dan [Auerbach]'s place waiting for Patrick [Carney] to show up. He had overslept. So we were hanging in his studio for a little bit playing records, like Dr. John, and all sorts of stuff, and then Patrick pulls up in that little MG. I suggested that those two ride in Pat's car and I would follow alongside and shoot out the window of my very sweet minivan that I was driving. It's just great because they're self-contained in that car. It's one of my favorite photos, I love it."
"I went to his studio and that was one of the fastest photo shoots I ever had. When I showed up to the studio, there was not much there. I thought I was going to have a lot more time than I wound up having, so I had set up a pop filter that people use to put in front of a mic. I took out the material out, which is almost like a stocking, and used the shape of the pop filter against a black surface. I then hung two microphones that I had found in the studio over his head. The whole entire shoot lasted about twelve minutes and I got all the photos that I needed."
R.E.M.'s Michael Stipe
"I was shooting Michael Stipe and it was interesting, because sometimes you get hung up on a certain framing. You feel like it's working well and you're really enjoying it, thinking you're getting it, and then you step away for a second. For that whole contact sheet, it basically was one different shot from in front of him, with the street going down in the distance. We were in Times Square. At the end of the roll, I took one step to the side of him and saw that guy peeking through the window of magazines and I shot like one frame, which is the one that I wound up choosing."
"This photo was taken backstage at Lollapalooza. We were all hanging out and [Smith] had a Polaroid camera. She was taking Polaroids of people and we were having a laugh, so I decided to take this picture of her and her kids. It was pretty funny!"