made his way down the seven-floor building, until he reached the bottom, the basement archive, where I was working as’s picture researcher. He had expressed an interest in photography: he was in the right place. I set Walker to work cataloguing our holdings of’s photographs, a project that had long needed doing.
Tim is talking slowly but enthusiastically – and he will do so without flagging for nearly two hours. As he rearranges the pictures, he reflects, “When you’ve taken a picture it’s never ever how you thought it was going to be, so you see it as a failure. You think everything is a failure, you really do.”
The pictures they made together are relics of a glorious time in fashion photography, when ambition was never a problem . But in time, this way of working had to give: “I was sinking in a sea of complications weighed down by big plans, storyboards and weather charts,” Tim says. “I hadn’t yet learned that making pictures is not about trying too hard; it’s all about a lightness.” He goes on: “You’re in the day. You’re in the summer.
“In the end,” he continues, “I decided I needed to see everything. Everything. Do you know they have these extraordinary arrows from Lahore, which are still toxic!” He adds, resignedly, “I don’t think they’ll let us put them on display… And they’ve got Peter Brook’s collection of ephemera from his film of. That was such a moment in my reading.
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