28 14 December 2019I http://www.amateurphotographer.co.ukI subscribe 0330 333 1113
thetechnicalsideoflenseshe
wasverymuchupon.But,
althoughhewasaneminent
technician,thatkindoftechnical
stuffis interestingtoa degreebut
if you’reonlylookingsolelyatthat
you’remissingthepointbecause,
ultimately,it’saboutthepicture.’
Duffyviewedphotographic
equipmentaspartofa toolkitthat
wouldhelphimtoresolvea brief,
andachievea greatpicture,butfor
hispersonalpictureshewasquite
happysimplyshooting with an
Oly mpusTr ip.
Aflashofgenius
Theinventiveandcreativemind
ofDuffyis arguablybestillustrated
byhisapproachtoandintervention
duringtheAladdinSanealbum
covershootwithDavidBowiein
1973.Bowie’smanager,Tony
Defries,hadreasonedthattomake
therecordcompanyRCApaymore
attentiontoBowieasanartist,it
would help to run up a huge bill
forshootingtheLP’scover,thus
makingit a recordthatwould
requiresignificantpromotionto
recouptheinitialspend.
Duffywasmorethanhappyto
obligeandexplains,‘First,wehad
dyetransfers,whichis a genius
methodofspendingthemost
amountofmoneyinreproducinga
colourtransparencyontoa pieceof
paper.Secondly,gettheplatesmade
in Switzerland, the most expensiveplaceintheworld,andthirdly,
employmetodesignandcreateit.
Evenbetterandmorewasteful.’
However,hewasmodestabout
theoutcomeoftheAladdinSane
job,‘Itwasverycompetent,but
I wouldn’ttakeit muchbeyond
that,’yethehadanotherkeyrolein
it.Theshoot’smake-upartist,
PierreLaRoche,startedoffdrawing
a smalllightningbolton
Bowie’s face before Duffy‘Hewasaneminenttechnician,butif youonlylookatthat,you’remissing the point because ultimately it’s about the picture’Top:Smirnoff
Vodka
advertisement,
U-boat, 1978Above:FrenchElle,
Morocco, 1962Left:Duffyandhis
son Chris, 1987