“Well photographs are all about light. They’re about light and shadow. And if you work in black and white you learn the discipline of looking at how light is reflecting on the surfaces you’re photographing – of peoples’ faces….So i particularly recommend for young photographers who are starting off, to shoot black and white, because that’s how they’ll learn about light.” Kim Gottlieb-Walker
Kim Gottlieb-Walker @ Proud Galleries, London (6-4-11)
Having spent the lion share of the late ‘60’s and early to mid ‘70’s capturing stunningly unique and exclusive images across a plethora of artistic fields, Kim Gottlieb-Walker no doubt has a multitude of stories and experiences yet un-told. With an excellent fully illustrated book, ‘The Golden Age of Reggae’(Titan Books) released to coincide with the 30th Anniversary of Reggae deity Bob Marley’s death, Kim has also been on an extensive global gallery tour showcasing photos from this must have publication taken during the golden age of Reggae 1975 to 1976.
UK Vibe’s Michael ‘The Dood’ Edwards was invited to have a personal one to one audience with the Queen of the ‘Still Image’ prior to the official opening of her exhibition at Proud Galleries in Camden, London. His first impression on meeting her was of an amiable, confident, warm-hearted and approachable lady keen to discuss her life as seen through a 35mm camera lens.
The Dood: Welcome Kim Gottlieb-Walker, it’s a pleasure and an honour to meet you, thank you for taking time-out to talk to UK Vibe.
Kim: Thank you.
The Dood: So take us through chronologically your introduction to and subsequent love of still photography?
Kim: The first time i really did any shooting was during my freshman year at Berkley – The University of California, Berkley. And that’s when the free speech movement started. And so i photographed Joan Baez playing to the crowd; the students taking over the administration building. It was very exciting! That was my first taste of journalistic shooting. Then i transferred down to UCLA, where i majored in Motion Picture Production and that’s where i started working with my film teacher. He would do interviews for the Underground Press.
The Dood: Kerby
Kim: Bill Kerby, yes. And that’s when i shot the Jimi Hendricks pictures, when i was twenty years old. He did the interview and i shot the pictures.
The Dood: What year was this?
Kim: That was in the late ‘60’s – ‘67/’68. I graduated in ’68. So ’67, ’68, ’69 is when i was doing stuff for the Underground Press.
The Dood: Were you aware of the gravity of being in such close proximity to a Rock’n’Blues superstar?
Kim: Jimi Hendrix was unknown in the United States at that time. He’d been successful here (UK) and he had just come back to the United States. So it was an interview but it was a musician you know. And i don’t hear very much when i’m shooting because ALL my concentration is in my eyes, so i don’t remember anything he said. And i didn’t realise he was flirting with me until i read it in a book several years later. So i amassed quite a portfolio.
Jimi Hendrix. Photo: Courtesy of Kim Gottlieb-Walker
The Dood: I can imagine.
Kim: Then i came to London, England in 1970 and again in 1971 and lived here for almost a year. While i was here i photographed Pink Floyd and i went to the Isle of Wight Festival and photographed Joni Mitchell…Then when i went home i got involved with the formation on a music magazine that was called Music World Magazine. This was the end of ’72 through to ’73. And that’s where i met my husband, because he was the editor and i was the photo editor and photographer.
The Dood: Everything happens for a reason.
Kim and Jeffrey Walker
Kim: So we became a team. We’ve been together now for thirty-eight years and we’re still a good team.
The Dood: Staying with that subject. What is your marital secret, if i may be bold enough to ask?
Kim: Well, we’re best friends and we have the same taste in things, we enjoy the same things.
The Dood: Bruce Lee once wrote that down the road it’s not your differences that keep you together but the things that you have in common.
Kim: We have some differences – I am much more social than he is. If it was up to him he would probably never leave the house. Whereas i like to meet people and travel around. But we have a very harmonious relationship. We’re very mutually supportive of each other.
The Dood: Okay, so now you’re back in the States?
Kim: Yes. And i met Jeffrey over the formation of the magazine. The magazine lasted about a year. We intended it to be like the radio is, where it is free to the people who access it, and it is advertisers who pay for it. Which is good in theory, but you have to have someone selling the advertising in order to pay for it. And our publisher was also the ad’s salesman, so he was so busy being the publisher he didn’t have a lot of time to sell the advertising. So we spent a year doing this magazine without taking any salaries and covering a lot of really interesting people.
Tom Waits on cover of Music World Magazine. Photo by Kim Gottlieb.
We didn’t have to put a star on the cover because it was a free publication! So we had people on the cover like Tom Waits, who no one had heard of at that point. I photographed him in his home in Silver Lake. We had the very first Reggae cover i think in the United States, which was Johnny Nash. And then by the end of then by the end of the year the magazine folded because we just couldn’t afford to keep it going. Jeffrey then got a job doing publicity for United Artists Records. And they sent him to England on tour with some bands. And he took advantage of that to go see Chris Blackwell (Owner of Island Records). Because he loved Island Records, it was absolutely his favourite label!
The Dood: So he was ahead of his time as well?
Kim: Oh yeah! So he went to see Chris and he told Chris that he absolutely Loved Island and if Chris ever wanted to hire a publicist or if they were ever doing anything in the United States, then he would be available. The next year, i guess it was in ’74 they started Island in America – They established an office in Los Angeles. And Chris Blackwell called Charlie Nuccio, who was President of Island in the US and said, ‘Get Jeff Walker to be your director of publicity.’ And so Jeffrey got his dream job…The Wailers had already come out with their first few albums and they were just breaking up, they were just starting their solo careers. It was before Rastaman Vibration and all of that.
The Dood: Okay!
Kim Gottlieb-Walker Gallery in Second Life
Kim: So Jeffrey knew that we needed pictures to promote Bob (Marley), because America really didn’t know Reggae. Very few people knew about Reggae. He was known here in the UK and he was known in Jamaica, but not in the US. So that was Jeffrey’s big challenge, to introduce him (Bob) to the US market. And it was very difficult. The radio stations would not play Reggae. Even black radio stations wouldn’t play it. They would only play Disco, saying that you can’t dance to Reggae – Which is insane, you can’t not dance to Reggae! So he found the biggest in roads were made at Universities, with University students and University radio stations. And with the music press, because the music press and other musicians who knew about that and they loved that. So that’s where it began.
The Dood: So what year are we in now?
Kim: This was in 1975. So the book covers 1975 and 1976. Starting in L.A in 1975, which is when Bob came up to Los Angeles and he performed at The Roxy. And almost the whole audience was either musicians or people from the music press, because they were the only ones who really knew about him at that point. And we set up a lot of interviews for him and i photographed all the interviews. I photographed him meeting George Harrison backstage at The Roxy. It was really wonderful! He performed on a television show called Manhattan Transfer, so i photographed him performing on Manhattan Transfer.
L to R: George Harrison, Jeff Walker, Bob Marley & Charlie Nuccio (Island President). Photo: Kim Gottlieb-Walker
The Dood: This is all in the book?
Kim: This is all in the book! So i covered the whole of his first trip to Los Angeles. And then later in the year we went down to Jamaica and we hung out in his home. And we travelled around the island because even if people weren’t recording for Island Records, they all needed pictures for one reason or another, they were all recording. So everywhere we went i photographed every musician we met during the trip. It was absolutely wonderful! It was SO much fun!
The Dood: I can well imagine. Now these photos you took were in black and white or did you mix it up with colour images?
Kim: It was mostly black and white. I had some colour film, but it was very cheap colour film. It was called Eastman Colour Negative, which was film that was really meant for movie cameras – 35mm movie cameras. But they would wind it up into little rolls so you could shoot it in a still camera. But it was really meant for projection, it wasn’t really meant for print, so it wasn’t very high quality, but it was the best i could afford. We didn’t have a lot of money, so it was the best i could do. But i love the black and white.
The Dood: Is shooting in black and white more expressive?
Kim: Well photographs are all about light. They’re about light and shadow. And if you work in black and white you learn the discipline of looking at how light is reflecting on the surfaces you’re photographing – of peoples’ faces. Colour may be a nice addition, but it’s not THE key to a beautiful picture. The key to a beautiful picture is how the light is falling on the subject; how it’s reflecting off their eyes; how it’s defining their cheek bones. So i particularly recommend for young photographers who are starting off, to shoot black and white, because that’s how they’ll learn about light.
The Dood: Right!
Kim: They had the Dream Concert while we were down there (Jamaica) which featured Stevie Wonder. So that was exciting. And i photographed Bob in his home because Jeff had brought him all the press that had been generated by his trip to Los Angeles.
The Dood: Is this the shot where lounging in a chair reading a magazine?
Kim: Yeah! He’s reading the trades, the music trades to see all the coverage of when he gave the interviews earlier.
Bob Marley reads the music trade mags. Photo: Courtesy of Kim Gottlieb-Walker
The Dood: So you had access all areas sort of thing?
Kim: Yeah! They just let me hang out. In the book there’s a picture of Stephen Marley as a tiny child and there’s a picture of Robbie Marley who was maybe four or five at the most. We just hang out for the day. That is why you see pictures of him playing ping-pong and hanging out with his friends. So it was very nice. He wasn’t a guy who liked to pose, because he’s not a poser.
Bob Marley Photo: Courtesy of Kim Gottlieb-Walker
So at one point i had brought some coloured paper in the colours of the Ethiopian flag. So i scotch taped them to a wall in his house and i said, ‘Would you stand in front of the colours?’ So he stood there and in the first shot he was very serious – which was his usual look. And i peeked out from behind the camera and i said, ‘You know a lot of people who are gonna see these pictures are people who already love you.’ And he broke into a big smile and that’s how i got the next two shots! Because i never shot very much, i only shot the exact shots i was going for. So it was three shots – serious and smile, smile! (laughs)
The Dood: I understand you prefer to be unobtrusive and like to photograph your subjects in a relaxed state?
Kim: Yes. That was the only time when i asked him to pose. the rest was just documenting what was happening.
The Dood: It was as if you were videoing it but doing it with still photos?
Kim: Just picking moments that i thought were worth saving. Then the next year he came back up to L.A and that’s when we shot the High Times cover. And that was the one time that he posed and he really enjoyed posing! Because he loved High Times magazine and erb was an intrinsic part of his message.
Bob Marley – Cover shot for High Times magazine Photo: Kim Gottlieb-Walker
http://hightimes.com/lounge/ht_admin/6952 (Interview – High Times magazine)
It’s something that’s given by God to make things better you know. And so he posed with all of that erb piled on the table and erm. I don’t know whether i said it in the book or not – It was ALOT of erb!! It wasn’t much for him but it was impressive for me! (laughs) And my two year old son was with us. So there’s a picture on the wall of Bob laughing because he’s got his little knit cap on. My son at two was convinced he was a Rasta! He knew every cut on every Reggae album that had been released in the United States. So the picture of my son with Bob laughing at him – My son is now thirty-seven and he has that picture on his wall.
George Harrison and Bob Marley backstage at The Roxy. Photo: Courtesy of Kim Gottlieb Walker
Also the first time Bob came to L.A, when he performed at The Roxy, George Harrison came to see him and that’s when Jeffrey my husband introduced the two of them backstage. And Bob very excited when he heard that George was coming backstage, he said, ‘Ras Beatle!’ (Laughter all around) It was kinda frustrating for me because it was backstage in a very dark area and i have a flash on my camera and the batteries were dying on it! So it was thirty seconds between charges and it was only about a two minute meeting. And when you have to wait thirty seconds to get a picture when you’ve got two legends there!!! So it was kinda agonising (laughs).
So the next year when he came down, he did the High Times cover and he performed in Santa Barbara which is a little bit up the coast from Los Angeles in an open air amphitheatre. And that was great, because usually he performed in dark clubs. It was hard to photograph the full range of the way he would dance as he was singing – the full range of his movements. But in that outdoor daytime amphitheatre, you could get ALL of those wonderful movements. I was thinking that i should put them all together and make a little flip book so you could see them better (laughs).
The Dood: What camera where you using then?
Kim: Still the same camera. I think it was an old Pentax for most of that. And then we went back down to Jamaica later that year and we brought a whole lot of journalists with us, music journalists, because we wanted them to get the Ital vibe! We wanted them to feel the surroundings and understand where Bob was coming from and get a real feeling for it…We got to spend time with Peter Tosh and with Bunny Wailer. And we had brought with us Cameron Crowe, who was just eighteen years old.
The Dood: The Director/Producer of ‘Almost Famous?’
Kim: Yes, because he had been writing for us during his Almost Famous period. He was writing for Music World Magazine, so we had a long history with Cameron. So Jeffrey decided it would be great to bring Cameron with us, kind of like a little brother. And he travelled with us, and we brought our little boy. So our little boy was three years old and Cameron was eighteen. And we travelled like a little family around the Island.
The Dood: Is this when you photographed Toots and the Maytals; Junior Murvyn etc?
Kim: Well a lot of that was the first because we travelled around photographing everybody for the albums and publicity. But the second time was when we really got to spend a lot of time with Peter Tosh and Bunny (Wailer).
The Dood: Were they interesting characters as well?
Peter Tosh. Photo: Courtesy of Kim Gottlieb-Walker
Kim: Oh! I love Peter Tosh! You know Peter had a reputation for being the militant one, the angry one. But he had a gentle soul, he was so gentle inside and he had suffered so much injustice. And so his anger was righteous, it was justified. But he was so sweet with my son, those pictures in the book of him putting the needle on the record who wanted to play the 45’s you know. And my son was so excited to meet Peter because he knew Peter’s music. And Peter was so expressive! He started talking to Cameron Crowe and was telling about all the injustice that he’d experienced and the things that needed to be changed in the world. He was SO expressive and it so much fun to photograph him while he was talking, because he put so much of it into physical movement. And we also photographed him doing Kung-Fu out on the ledge. There’s a picture of him in the show here and there’s three pictures in the book where he’s doing his Kung-Fu. And Bunny – Bunny is the Obia man.
The Dood: So what’s his relationship to Bob?
Bunny Wailer – Obia Man
Kim: I think his father and Bob’s mother may have been together for a while. So they were like brothers. But Bunny had a reputation as an Obia man and you don’t mess with Bunny because he had powers.
The Dood: That reminds of the story about a photographer who came to photograph him, when he said, ‘I don’t let dead men take my picture.’
Kim: Yes that’s right! He said, ‘I don’t let dead men take my picture.’ And the guy died within a couple of weeks!! So i figured i was meant to be around for a while. And Jeffrey’s story about when we first got there and the journalist wanted to meet Bunny. And so we went to Tommy Callins recording studio and we said to Tommy, ‘How do we get a hold of Bunny?’ And he said, ‘Just call him!’ And we said, ‘But he doesn’t have a phone, how do we call him?’ He said, ‘Go out under the tree and call him!’ So Jeffrey went out under the tree and he said, ‘Bunny, i don’t know if you can hear me but we’re going to be back here tomorrow and we’d love to talk to you.’ We came back the next day and Bunny is standing under the tree and he said, ‘You called?!!!’
The Dood: Amazing!!!
Kim: Yeah! But that was Bunny (Laughs). Yeah, Bunny was great! And Bunny Album ‘Black Heart Man,’ if people are not familiar with that album, it is one of the most beautiful albums ever made! So people should look for ‘Black Heart Man,’ because listening to that album is like floating down a warm stream of honey! (Kim Chuckles)
The Dood: Wow! That is succinctly, passionately and vividly described – Floating down a warm stream of honey.
Kim: It’s just a beautiful album. Although my son who used to listen to it before he’d go to sleep sometimes, he marched up to Bunny and he said, ‘I don’t like Amagideon (Armagedon),’ which was one of the songs on the album. Because even though the music is gorgeous, the words are about Armagedon! So that disturbed him. So we got into a whole philosophical discussion with Bunny. And Bunny was saying, ‘Oh! But it won’t hurt the children!’ And he got into this whole big discussion with a three year old you know!
The Dood: Classic! What was the synergy like between Bob Marley, Peter Tosh and Bunny Wailer?
Kim: Well at that point they had broken up and were doing their own individual things. So the only time and actually saw them together at all was during the Stevie Wonder Dream Concert, which was the last time they performed together. But i wasn’t in a position where i could get all three of them in the frame because they were in different places on the stage, and i was at the side of the stage. So i managed to get a couple of individual shots. But that was the last time they performed together, was at The Dream Concert.
The Dood: Where in Jamaica for the One love Peace Concert he did with Political opponents Michael Manley and Edward Seaga?
Kim: After he got shot? My husband was there, but i wasn’t because at that point i had started working on movies. And the next part of my career started where i worked for John Carpenter shooting Halloween and Escape from New York with Debra Hill. But Jeffrey was down here – In fact Jeffrey was with him. Jeffrey arrived on the Friday that bob got shot. So he arrived at the airport, heard Bob had been shot and went straight to the hospital…And he went with him to Strawberry Hill up in the Blue Mountains. And he was with him that whole weekend.
A reflective Bob Marley. Photo: Courtesy of Kim Gottlieb-Walker
The Dood: Is that where he recuperated?
Kim: Yeah! It was surrounded by Rasta Elders, who were all telling Bob not to perform on Sunday. They were saying, ‘Don’t put your life at risk.’ And Bob was saying, ‘If i had a machine gun!!’ And Jeffrey was saying, ‘Your guitar is your machine gun! You can’t let them silence the music!’
The Dood: Exactly!
Bob Marley chills out Photo: Courtesy of Kim Gottlieb-Walker
Kim: And so Bob finally decided he was going to the show. And so they came down from the mountains to the stadium and there already about 90,000 people or something gathered in the stadium.
The Dood: There were other people on the bill obviously?
Kim: Well, they were going to turn it into a tribute to Bob. So a lot of reggae performers as a tribute to Bob. And when Bob showed up, then all of a sudden ALL the different members of the band who had really been kinda scattered all over the place, one at a time they started in long showing up and joining in you know. And at the end he showed his wounds to the crowd and it was very dramatic.
The Dood: Wow! Powerful! Even on film it comes across as very very impactful, so actually being there must have been something else.
Kim: So that was kind of the end of the period in which I was involved with Reggae and photographing that world, because then I did movies and television after that.
Jamie Lee Curtis – aged 19. Photo: Courtesy of Kim Gottlieb-Waliker
The Dood: Tell me the story about Jamie Lee Curtis, whereby you left your portfolio in her trailer because she refused to be photographed, and she saw the pictures of Jimi Hendrix and how they looked so natural and unobtrusive.
Kim: That was Halloween the first Halloween After that she was completely co-operative.
Jamie Lee Curtis – aged 19. Photo: Courtesy of Kim Gottlieb-Walker
The Dood: In fact, in the photos that you took of her she looks so trusting and at ease with you.
Kim: When I speak to an audience it’s one of the things that I talk about… I consider myself the opposite of paparazzi, because paparazzi take people’s pictures against their will. And when I take someone’s picture it’s a mutual act of giving. I’m contributing what skill I have just at seeing, and there are contributing the trust. And so it’s a mutual act of love, so it’s the opposite end of the spectrum from being paparazzi.
The Dood: I like that take on it, very much so. It’s very good thing for young people to learn when you travel around the world giving the talks.
Kim: Recently I went to a local high school and talk to kids in a photography class.
The Dood: So, what was the first motion picture that you did?
Halloween II: Dick Warlock, Jamie Lee and Donald Pleasence. Photo: Courtesy Kim Gottlieb-Walker
Kim: Well the first one that was released was Halloween. I had worked a little non-union film before that, but it was so terrible it never even got released. But Debra Hill was the script supervisor on it. And when she wrote Halloween with John Carpenter and she produced it and he directed it, she called me to find out if I would like to do the stills for the movie. And that’s when I kind of became part of John Carpenter’s film making family for the next few years.
The Dood: So did you learn a lot from being behind the scenes at movies – the different angles etc.
Kim: John hired me because he saw my portfolio and he knew that I knew what I was doing. And he understood the value of still photographs to sell a movie and to let people know what the atmosphere was like and to get the feeling for it. He was very much aware! And he was a wonderful director to work with, because I didn’t even have soundproof equipment at that time. You use things called a blimp that you put your camera in to make it soundproof, so you can click away and nobody will hear it. And I didn’t have that equipment when I did Halloween. So if they did a scene where there was dialogue, I had to wait because they would hear the click of the camera on the sound. But when it was over he’d say, “Okay, now do it again for Kim.”
Kim, Debra Hill, and John Carpenter
The Dood: Wonderful!
Kim: And it’s very rare that you’ll find a director who appreciates the still photographer enough to allow that. But he appreciated every single member of his crew, he understood it was a can collaborative effort and that everybody was valuable.
The Dood: So he was way ahead of his time?
Kim: Yes. And then ‘Escape from New York’ got me into the union. And now I’m in the Cinematographer’s Guild.
The Dood: Is it true you that Debra Hill fought for you to get into the Guild.
Kim: when I got in, which was in 1980 it took a court case for me to get in because the unions were so closed. And now they’ve really evolved, they’ve really changed. So that if you can prove that you’ve done enough work on little non-union films for at least 100 days over a three year period, they’ll let you in. They just want to know that you’ve had some experience. And I’ve served as an elected representative for still photographers on the National Executive Board of the Cinematographer’s Guild for almost 20 years now.
The Dood: What does that involve on a day-to-day, monthly, or yearly basis?
Kim: Well, we have National Executive Board meetings three times a year when representatives of photography; camera operators; assistance; and still photographers; and publicists gather. We get together to work out what the problems are that people are having in the field, because we’re the ones that wrote the Constitution and the bylaws and all of that. You know still photographers have a lot of problems nowadays because of digital cameras, because everybody on the set has a digital camera. And it used to be that we were that only people authorised. There was one still photographer on each show and we were the only ones authorised to take pictures. And that way the producers had control over what images got out to the public. And the actors knew this was the official person who was taking the stills. Now, with everybody taking pictures, the actors lose patience and things end up on the Internet that shouldn’t be there. And it’s a very difficult situation for still photographers now – the job is much harder to do now.
The Dood: So, we are in 2011 now, so no doubt you up-to-date with digital photography?
Kim: I’m a little bit behind the curve digitally, but I set up digital seminars for the still photographers so that they can learn the latest developments; the latest cameras; the latest software. So that helps. But I’ve retired now, so I’m not shooting movies or television anymore, but I’m still doing what I can to help the other still photographers.
The Dood: No more Star Trek or Cheers?
Kim: Cheers was nine years! That was fun, yeah!
The Dood: So were you on those the time?
Kim: Yes, for nine years! Then of course I had the blimps for my cameras. It’s very interesting when you’re shooting situation comedies because they shoot them with four cameras at once. So there are a million marks on the floor, so that the people pushing the dollies that the cameras are on know where they’re supposed to be for the next shot. And yet be very careful not to step on any of the marks, otherwise they won’t know where they’re going. And so you work out signals with everybody, so if they’ going to customer blindside you, they can go PSSST! And you know to jump straight back so that they can go by. It’s kind of specialised.
The Dood: What camera do you use at the moment?
Kim: This is the Canon EOS7D. These new cameras even have the capability for shooting high def video. I haven’t even tried that yet!
The Dood: Are there any family members following in your footsteps?
Kim: No, my daughter has sort of followed in my husband’s footsteps. For the past 25 years or so he has done special marketing for motion pictures – and she really knows motion pictures and popular culture. So she has been working in publicity with him, even know she has had wonderful training as an actress. But it is much easier to do publicity than it is to get a job as an actress.
The Dood: Have you met any of Bob Marley’s son’s recently?
Kim Gottlieb-Walker, Rohan Marley & Genieve Brown-Metzger (Consul General of the Jamaican Consulate in NY). Photo: Courtesy of David Ryzman
Kim: Rohan actually! We did a display of photos in the Jamaican consulate in New York, and Rohan Marley was there. And he is in charge of the part of the family business which deals in Marley Coffee.
The Dood: Oh, Really!
Kim: It was so wonderful watching him view these pictures, because it’s one he would say, “Oh, I know that expression on my father.” And he would talk about what Bob was thinking about in each picture.
Rohan Marley and Kim (Photo: David Ryzman) at the Jamaican Consulate in New York. http://rohanmarley.com/
The Dood: That’s wonderful!
Kim: Oh! This is something I would like to mention in your article. The Marley family that is called www.1love.org That’s the number one not spelled-out. And it’s a worldwide charitable organisation that helps provide clean drinking water around the world; that educates the youth and that works for world peace. It’s fantastic because they are really trying to change the world in Bob’s name. And they want people to sign onto the website and let them know every time they do it act of love and kindness. Because they believe if they can generate millions of acts of love and kindness that It Will change the world. So everybody out there sign onto that website start doing those acts of love and kindness.
I know there are also involved with www.charitywater.com and they are involved with the UN Environmental Fund, because they really want to do things that help the environment and provide clean water for people and educate kids and it’s really wonderful. And it really carries on what Bob would have wanted.
The Dood: Finally, may I say thank you for taking timeout. What advice would you give to young aspiring photographers who want to follow in Kim Gottlieb-Walker’s footsteps?
Kim: Make sure that on everything you shoot, that you label who it is and what the date is. Because now looking back over 40 years of photographs I find so many where I didn’t identify who it was I was shooting or what the date was! And to try to do it 40 years later is not the best way to do it! (laughs) So everyone should try to be a organised about labelling and dating things. And to just do a lot of shooting, because you the more you do it, whether it’s friends and family or events that are happening near you – the more you do it the better you get at it.
The Dood: And to have fun?!
Kim: And enjoy it, yes! I’ve had a very enjoyable career!
The Dood: Do you ever do landscape photography?
Kim: No, only people! (Laughs)
The Dood: Clarified! Thank you for your time.
Michael J Edwards.
Michael ‘The Dood’ Edwards and Kim Gottlieb Walker at Proud Galleries, London
Michael ‘The Dood’ Edwards as photographed by Kim Gottlieb-Walker @ Proud Galleries
Bob Marley and the Golden Age of Reggae (c) 2010 Kim Gottlieb-Walker
All rights reserved. Published by Titan Books