Framing Bowie 1967–1991

A studio contact sheet records the choices made across several exposures. MacCormack’s photographs begin with the time afforded by a journey he was taking himself.

MacCormack’s position within the touring group let him photograph in the intervals between engagements. The time available for the picture was part of its form.

Away from the studio, the distance between a sitter and the camera can give the setting a larger role. MacCormack’s photographs move between that wider view and the intimacy of travelling together.

Arrowsmith’s training as a painter informs the attention he gives to shape and balance. A standing portrait lets him develop those relationships within a single exposure.

Light can determine how much of a figure the eye is able to recover. In Arrowsmith’s portraits, the transition into shadow is part of the composition.

Aris developed his practice through reportage as well as commissioned portraiture. A recording session gives him a working environment in which to find the portrait.

On a video set, Aris can draw on the performer’s styling and the production already under way. He makes a still image within a setting designed for movement.

A change from colour to black and white shifts how Aris uses the setting. Light and the distance from the sitter can carry the portrait with very few other elements.