Once we arrived at the Baths I had my assistants set up a flash unit, suspended over the Roman Bath on a boom. This would not have got past health and safety today and I was really nervous incase the boom failed, fell into the water and electrocuted Peter and myself.

When I discovered them again between shoots, exhibitions and the whirlwind of the photography world. I realised how sensual and slightly androgynous the model is who I think is called Mona but I am not 100 percent sure.

I shot these phots on a Linhof 5×4 plate camera for Hearst Magazines – it was a story about the…

Even when I asked her if I could pour water over her head. She said yes and then my assistant was duly instructed to stand on a tall ladder and sprinkle water over her.

I have had the extraordinary blessing of photographing some of the world’s most beautiful women. I first met Kelly in…

Warhol was a man of few words and wielded an antique polaroid camera and insistently took polaroids which he then dropped on the floor, without looking at them. I said ‘Are you going to open the polaroids Andy? He said, ‘No, I like them to cook because the colour becomes more intense.’

Zandra is a major talent as well as being a very bright, approachable and affable lady. The Fashion and Textile Museum (London) are currently exhibiting Zandra Rhodes: Fifty Years of Fabulous from now until the end of January 2020. I recommend you go along and see the gowns in real life, I say this unreservedly the gowns are works of art.

The main thing I find using Adobe Photoshop is I can revitalise and re-image the colour and restore the original quality of the image. An analogy would be, if you remaster a Beatles album, you have the spirit of the original saved in a stable way and that is the blessing of digital.

I always like casting shadows in my pictures and not just casting light, which is something that I don’t think people think about closely enough. There is always the moment of the big reveal that has the most incredible power and dynamism.

I decided it would be fun to shoot in my garden as it was looking particularly good and I had some interesting lighting ideas. I decided to back light all the foliage in the garden so I could capture the the translucence quality of leaves and branches, which gave everything a more mystical look.

Greta looked amazing in this Anthony Price dress. When I explained to her, the concept behind the shoot being women who could have married Prince Charles she burst out laughing and I took this picture.

Georgia Howorth (Model), Olivier Schawalder (Hair) Maxine Leonard (Make up), Nick Royal (Styling) – The Beauty Papers – Clive Arrowsmith (Photographer) Jan 2019 Georgia Howorth (Model), Olivier Schawalder (Hair) Maxine Leonard (Make up), Nick Royal (Styling) – The Beauty Papers – Clive Arrowsmith (Photographer) Jan 2019

My dear friend and ex assistant Kenton Thatcher (photographic Prince of Portugal) said over lunch, “I have a really talented friend called Simon Emmett who is a devotee of your photography and would love to meet you.” I said ” Yeah okay, when you next come over bring him with you.” The date was set and they both arrived at my place together. Simon seemed very quiet and shy and Kenton was very much the instigator/master of ceremonies about various adventures we had, had over the years including the Pirelli calendar in the desert. So the conversation proceeded with Kenton saying “Clive, tell him about the time we did…the Pirelli calendar in Almaria (in the scorching heat when the make up ran off the models), the set blowing over a cliff and nearly taking you with it” and on and on like that recounting various crazy stories from our travels around the world. Simon listened attentively and Simon opened up and I showed him lots of my work and he said “This work is amazing. I really think you should meet Maxine Leonard, Editor and creator of the Beauty Papers and they should do a feature on you.”

Georgia Howorth (Model), Olivier Schawalder (Hair) Maxine Leonard (Make up), Nick Royal (Styling) – The Beauty Papers – Clive Arrowsmith (Photographer) Jan 2019 Georgia Howorth (Model), Olivier Schawalder (Hair) Maxine Leonard (Make up), Nick Royal (Styling) – The Beauty Papers – Clive Arrowsmith (Photographer) Jan 2019

Maxine called me a few days later, she reminded me I had worked with her a few years ago and explained as well as being a make up artists she was currently Editor in Chief of The Beauty Papers, the bi-annual cutting edge tome and could we talk about an interview and a shoot. She came over to my house an as our conversations progressed she mentioned she new the fantastic hair dresser Olivier Schawalder (based in Paris) and the idea of doing a contemporary shoot alongside historic images emerged. Olivier would fly in from Paris, Maxine would do the make-up, Nick Royal would do the styling and so it began.

Georgia Howorth (Model), Olivier Schawalder (Hair) Maxine Leonard (Make up), Nick Royal (Styling) – The Beauty Papers – Clive Arrowsmith (Photographer) Jan 2019 Georgia Howorth (Model), Olivier Schawalder (Hair) Maxine Leonard (Make up), Nick Royal (Styling) – The Beauty Papers – Clive Arrowsmith (Photographer) Jan 2019 Gesche Fengler – Vogue 1970s Clive Arrowsmith Photographer

I spoke to Olivier in Paris and he said he loved my work and one of his favourite pictures was of Geschi Fengler for Vogue, so we used that original image of mine as a starting point. Then Maxine and I were trying to choose a model. The very first image that arrived was of Georgia Howorth and I instantly new she was the model I wanted to work with. At that times I was setting up the Peter Gabriel exhibition in Bath and viewed the image at a petrol station on my way to the gallery .

Georgia Howorth (Model), Olivier Schawalder (Hair) Maxine Leonard (Make up), Nick Royal (Styling) – The Beauty Papers – Clive Arrowsmith (Photographer) Jan 2019 Georgia Howorth (Model), Olivier Schawalder (Hair) Maxine Leonard (Make up), Nick Royal (Styling) – The Beauty Papers – Clive Arrowsmith (Photographer) Jan 2019

Maxine continued to send me alternatives models but I just new who I wanted. This often happens to me, when I was on the panel as photographer and judge on Britains Next Top Model I always new who the winner would be and I new Georgia was the model who was right for this shoot. Georgia has incredible soulful eyes and a face that is beautifully in proportion (like Christy Turlington’s face) which means that you can photograph her from any angle.

Georgia Howorth (Model), Olivier Schawalder (Hair) Maxine Leonard (Make up), Nick Royal (Styling) – The Beauty Papers – Clive Arrowsmith (Photographer) Jan 2019 Georgia Howorth (Model), Olivier Schawalder (Hair) Maxine Leonard (Make up), Nick Royal (Styling) – The Beauty Papers – Clive Arrowsmith (Photographer) Jan 2019

Hasselblad had kindly organised for me to use the new H6D Camera, which is amazing quality and very high resolution and can shoot film and digital on the same body, So thank you Hasselblad, On the day of the shoot I arrived at Loft Studios with my assistant Ian Stewart and grandson Eric (who is studying photography at Bristol University). Eric was standing in for my regular second assistant and had never worked on a big fashion shoot before. Ian is a great assistant and is so brilliant at setting up the tech and computers that is so essential at any shoot.

I told Eric to stand by me all the time and to watch everything I did and said. I asked him to move the lights, change the settings, bathe me in caffeine and generally be my right hand man. However Eric was very distracted by the model, the make up and the shoot itself and most fundamentally the buffet . I ended up shouting “Eric, Eric?” much to the amusement and then later consternation of anyone within earshot, particularly Ian. Eric would then reappear eating something. After a few jokes and minor chastisements he really got the hang of it all and was really attentive and helpful. Later his Mother Beth said Eric was totally knocked out by the experience and can’t wait to come on another shoot, along with his sister Tara who is studying film.

The stylist Nick Royal, had brought a racks and racks of totally fantastic clothes which I really appreciated and set the scene for a great day. Olivier arrived with boxes full of the most beautiful blonde perfectly crafted sculptural wigs and Maxine began doing her incredible make up. We began shooting with the opalescent globe which caused many problems as it illuminated the face without creating any contrast. Eventually I solved this problem, by using black polystyrene with a hole in it and varying the exposure (my usual fix). The chrome orb I had hoped to work with arrived at the end of the day just as we were packing up.

Georgia Howorth (Model), Olivier Schawalder (Hair) Maxine Leonard (Make up), Nick Royal (Styling) – The Beauty Papers – Clive Arrowsmith (Photographer) Jan 2019 Georgia Howorth (Model), Olivier Schawalder (Hair) Maxine Leonard (Make up), Nick Royal (Styling) – The Beauty Papers – Clive Arrowsmith (Photographer) Jan 2019

As Maxine, Nick, Olivier and I reviewed the days shoot on the screen (thanks Ian), Olivier put his arm around my shoulder and said to me, “Doesn’t it bring tears to your eyes when you see such beautiful images.” I then thought to myself that it is great when someone says something so genuinely emotional, rather than just, “Great pics/images” and I was so touched by that. Once again it was great to work with really wonderful professionals who understood the aim and attention to create beautiful images. Maxine had given me complete freedom and trusted me to express myself. That is the best way to work with creatives and these are the best of days and the best of times, thanks Maxine.

George Harrison rang me up and said “I’m doing an album with Ravi Shankar and there’s no one I’d like more than you to take the pictures” I’d known George since my art school days when I attended Queensferry School of Art which was about forty miles from Liverpool. We met was via Stuart Sutcliffe. The combined art colleges, Queensferry, Chester and Liverpool made a deal with the local bus company for art students from the three schools to come down to London for £2.10 on open top buses that they used at Epsom for the Derby. I first met Stuart Sutcliffe on the top of a bus to London and after the trip he said to me “Why don’t you come to Liverpool, we can go to The Crack for a beer (the art school pub)”. I used to go to Liverpool at the weekends to meet with Stuart and look for girls with long hair, purple lipstick and short skirts (this being the sixties).

Stuart looked to me on reflection like James Dean and he played the bass in the then band the Quarrymen who went on to become The Beatles. He introduced me to George on a misspent youthful weekend in Liverpool. That’s also when I met John and Paul. They would let me sleep on the floor of their squat in Gambia Terrace opposite Liverpool Cathedral. It was very cold, with paintings and guitars leaning against the wall and an open fireplace, typical art student digs. I remember watching John and Paul on their guitars practising the chords by the fireplace for Roll Over Beethoven and John exclaiming at the end “Yeah, I got the solo right”.

I really liked Stuart and thought his and John Lennon’s paintings were futuristic abstracts. Their work was not my cup of mocha java as I was obsessed with Renaissance painters but I could see how talented they both were. Leonardo Da Vinci and Caravaggio were and still are my idols as I was drawn to the way they used light, the chiaroscuro.  I was deeply saddened that a vital young man like Stuart was taken so tragically young as meeting him changed the course of my life. We were both obsessed by art and as artists we recognised each other because at the time I was devoted to painting and had not yet discovered photography.

I saw George again on the set of Ready, Steady, Go! after graduating from Kingston College of Art at the start of Beatlemania.  I worked with him later on the Phil Spector Christmas album (that’s another story), where he helped me personally with a mantra that slowed down my drinking and excesses. In a way George lengthened my life span, no doubt about that, after the Hindu practice I then became a Tibetan Buddhist. So I was very elated when George called and couldn’t wait to photograph him and Ravi Shankar and The Orchestra. As a guitarist myself I greatly admired him and Ravi.

The above pictures are part of a selection of portraits I took of George and Ravi on the day, you can really feel the warmth and joy between them. Ravi, George and his orchestra played ragas for myself and my assistants for two hours, it was so moving we all had tears in our eyes. George turned the tables on me when I arrived by taking a picture of me photographing, Ravi, the orchestra and him. If you look very closely at the second picture in this article he’s holding a camera, below is the picture he took, which his wife Olivia Harrison very kindly sent to me with a note saying ‘Here’s a picture George took of you, what a cutie”.

I was delighted when Olivia told  me that she was putting together a box set of George and Ravi’s music called Collaborations. She wanted to use the image of George and Ravi under the same scarf on the cover. I was really delighted that she did. Here is the lovely note she sent and the finished box set.

• Clive Arrowsmith is shooting stunning images, staging exhibitions and is as passionate about photography as he was when he first pressed the shutter at The Paris Collections. He is available for global media opportunities related to his work and photography generally. Bespoke prints from Clive’s archive are also available by special request, for any enquiries  (email Eugenie here). Clive’s book Arrowsmith: Fashion, Beauty & Portraits is available here and Lowry at Home: Salford 1966 is available here

When I discovered them again between shoots, exhibitions and the whirlwind of the photography world. I realised how sensual and slightly androgynous the model is who I think is called Mona but I am not 100 percent sure.

I shot these phots on a Linhof 5×4 plate camera for Hearst Magazines – it was a story about the…

Even when I asked her if I could pour water over her head. She said yes and then my assistant was duly instructed to stand on a tall ladder and sprinkle water over her.

I have had the extraordinary blessing of photographing some of the world’s most beautiful women. I first met Kelly in…

Warhol was a man of few words and wielded an antique polaroid camera and insistently took polaroids which he then dropped on the floor, without looking at them. I said ‘Are you going to open the polaroids Andy? He said, ‘No, I like them to cook because the colour becomes more intense.’

Zandra is a major talent as well as being a very bright, approachable and affable lady. The Fashion and Textile Museum (London) are currently exhibiting Zandra Rhodes: Fifty Years of Fabulous from now until the end of January 2020. I recommend you go along and see the gowns in real life, I say this unreservedly the gowns are works of art.

The main thing I find using Adobe Photoshop is I can revitalise and re-image the colour and restore the original quality of the image. An analogy would be, if you remaster a Beatles album, you have the spirit of the original saved in a stable way and that is the blessing of digital.

I always like casting shadows in my pictures and not just casting light, which is something that I don’t think people think about closely enough. There is always the moment of the big reveal that has the most incredible power and dynamism.

I decided it would be fun to shoot in my garden as it was looking particularly good and I had some interesting lighting ideas. I decided to back light all the foliage in the garden so I could capture the the translucence quality of leaves and branches, which gave everything a more mystical look.

Greta looked amazing in this Anthony Price dress. When I explained to her, the concept behind the shoot being women who could have married Prince Charles she burst out laughing and I took this picture.

Bianca came and sat under the spotlight and looked at me and leaning forward whispered “Are you ok Clive, you look a bit spaced out?” “I am, we were at an all weekend party madness and I’m still waiting for it to wear off” I whispered back “ I understand” she said with a knowing smile.

I then nervously poured a large bottle of Perrier all over her head. Through the spluttering cascade of Perrier water she said ‘You bastard”, I said ‘No, wait, trust me, don’t get angry”

The main thing I find using Adobe Photoshop is I can revitalise and re-image the colour and restore the original quality of the image. An analogy would be, if you remaster a Beatles album, you have the spirit of the original saved in a stable way and that is the blessing of digital.

It was a fraught and adventurous shoot, it has to be said, I risked life and limb by hanging over the edge of the top of the spiral staircase, with assistants holding my legs and jeans belt so I didn’t come to an untimely end.

The Girl In The Iron Mask shot for the FT’s then luxury lifestyle title ‘How to Spend It’ (those were … More

The main thing I find using Adobe Photoshop is I can revitalise and re-image the colour and restore the original quality of the image. An analogy would be, if you remaster a Beatles album, you have the spirit of the original saved in a stable way and that is the blessing of digital.

When I discovered them again between shoots, exhibitions and the whirlwind of the photography world. I realised how sensual and slightly androgynous the model is who I think is called Mona but I am not 100 percent sure.

I shot these phots on a Linhof 5×4 plate camera for Hearst Magazines – it was a story about the…

Even when I asked her if I could pour water over her head. She said yes and then my assistant was duly instructed to stand on a tall ladder and sprinkle water over her.

I have had the extraordinary blessing of photographing some of the world’s most beautiful women. I first met Kelly in…

Warhol was a man of few words and wielded an antique polaroid camera and insistently took polaroids which he then dropped on the floor, without looking at them. I said ‘Are you going to open the polaroids Andy? He said, ‘No, I like them to cook because the colour becomes more intense.’

Zandra is a major talent as well as being a very bright, approachable and affable lady. The Fashion and Textile Museum (London) are currently exhibiting Zandra Rhodes: Fifty Years of Fabulous from now until the end of January 2020. I recommend you go along and see the gowns in real life, I say this unreservedly the gowns are works of art.

The main thing I find using Adobe Photoshop is I can revitalise and re-image the colour and restore the original quality of the image. An analogy would be, if you remaster a Beatles album, you have the spirit of the original saved in a stable way and that is the blessing of digital.

I always like casting shadows in my pictures and not just casting light, which is something that I don’t think people think about closely enough. There is always the moment of the big reveal that has the most incredible power and dynamism.

I decided it would be fun to shoot in my garden as it was looking particularly good and I had some interesting lighting ideas. I decided to back light all the foliage in the garden so I could capture the the translucence quality of leaves and branches, which gave everything a more mystical look.

Greta looked amazing in this Anthony Price dress. When I explained to her, the concept behind the shoot being women who could have married Prince Charles she burst out laughing and I took this picture.