Photographer Mark Mawston recalls, "At the time, the chances of this gig actually happening at all seemed very remote. The night before, we were told, Amy had arrived an hour and a half late for her slot in V’s sister venue at Western Park (not good news at a festival with strict slots times for all the various bands), staggered on stage, fell over, forgot her lyrics and crawled off stage in a torrent of boo’s and had the crowd finish the set for her. This day however there was a huge cheer from the crowd when it was announced, to many peoples surprise, that Amy would be arriving by helicopter and would perform at her allotted time. She had a better reaction to just turning up than many bands had to their entire set. The number of people jostling for a space made it all a little precarious but low and behold, the band started and she walked on stage looking like some Mexican Senorita, as fresh as the roses in her hair."
"I have to say I’m shocked at how good she looks, as are most of the others and this amazement is compacted when she carries off her first three songs with consummate ease. The only tell-tale sign that she may be nervous is the way she constantly pulls at the hem of her dress, lifting it up to her thigh like a little girl who’s desperate for a pee. That and the way she frequently looks to her impressive backing signers for reassurance. I’d seen Amy perform in a tent at the same venue about 5 years previously and she’d blown me away but I really loved this performance as it was as unexpected as that original show for very different reasons. The first was surprise at just how good she was, the second was relief. When I compiled my favourite songs of the noughties, Back To Black headed my list of great songs from the decade."
"The colour shot was taken just as the sun set and is my favourite shot of her. The black and white shot, taken just minutes before, was just what I set out to capture as Amy always struck me as a modern singer who wouldn’t have been out of place in the Shangri-La’s in their mid 60’s Shadow Morton peak. It could also pass as a period shot taken at a “Wall Of Sound” Phil Spector session in the mid 60’s, helped by the way she chose to dress that day. Her songs were out of time but timeless, like Amy herself." Taken in August 2006
|Size||Price ex. vat||Price inc. vat|
|29.7 x 42.0cm (A3)||£291.67||£350.00|
|42.0 x 59.4cm (A2)||£395.83||£475.00|
|59.4 x 84.1cm (A1)||£791.67||£950.00|
|84.1 x 118.9cm (A0)||£1,500.00||£1,800.00|
At Rockarchive we carefully select the best print-type to optimise each individual photograph. We have chosen to print this image as a giclée fine art print produced in our London studio.
A giclée print is the most popular way of producing great quality collectable prints in the digital age. It is produced is by scanning an original negative. The image is then outputed onto the chosen paper using specialist inks to make a beautiful archival print.
This giclée print will be produced on archival 310gsm cotton based rag paper. Photo Rag paper is the most popular choices amongst professional printers as it produces high quality fine art prints with excellent clarity and depth.
Our prints are available in a variety of sizes. Please see below for specific measurements for the 'A series' of paper sizes.
A3 (11.7" x 16.5" inches) (29.7 cm x 42.0 cm)
A2 (16.5" x 23.4" inches) (42.0 cm x 59.4 cm)
A1 (23.4" x 33.1" inches) (59.4 cm x 84.1 cm)
A0 (33.1" x 46.8" inches) (84.1 cm x 118.9 cm)
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