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Shooting Bob Marley and the Punk Pioneers
Renowned photographer, Dennis Morris, has left an indelible mark on the world of photography through his captivating images of iconic figures. In an exclusive interview, Morris shared his remarkable journey from humble beginnings to a celebrated artist, capturing the essence of musical legends.
Photographer Dennis Morris has only vague memories of his life in Jamaica. He was born on the Caribbean island in 1960 but migrated to the United Kingdom at nearly five years old. The next time he returned to Jamaica, he was sixteen and taking photographs of the legendary Bob Marley by then. His passion for photography started in his early teens when he began to skip school to pursue his all-consuming hobby. Yet he had been taking pictures from around the age of nine. "I was really into photography," he told me over a double brandy.
A Fateful Encounter
Growing up in Hackney in the East End of London, Dennis became a choirboy at Saint Mark's Church of England. The vicar there was a very eccentric Englishman who envisioned the boys wearing Eton suits despite most coming from African and Caribbean backgrounds. Neither the church nor the boys could afford Eton suits, so the vicar placed an ad in The Times seeking a benefactor's support.
Donald Paterson, the inventor of photographic equipment known as Paterson Products, answered the ad. Having amassed a considerable fortune, he sought to contribute to society by purchasing suits for the boys and starting various afterschool clubs that positively impacted numerous lives. Most importantly, Paterson created a photography club which played a crucial role in young Dennis finding his passion. Noticing the boy's unrelenting interest in photography, Paterson took Dennis under his wing to teach him everything he knew.
The Power of Mentorship
“I wasn’t the only enthusiastic one,” Dennis recalls, “but I think he saw me as the obsessed one. He basically adopted me in some ways. I became a mystery to most white people due to knowing all about etiquette from him, but just as much of a mystery to black people for the same reasons.”
Paterson, an affluent man of exquisite taste known for his annual ownership of a new Aston Martin, exposed Dennis to high-end living, treating him to visits to the West End and fine dining establishments. He also ensured that every choir boy attended the cinema on the opening day of every new James Bond film. Sadly, however, Paterson's life ended in a manner that befitted his adventurous spirit.
As a native Scot, he selected three of the most talented choir boys for a six-week holiday at his Scottish estate each year. This routine persisted after Dennis had moved on from the choir. But filled with excitement one year after securing his first front cover featuring a photograph of Bob Marley, Dennis visited Paterson's office. Upon entering the premises, he noticed the disconcerting stares from the others present, instantly sensing that something had gone awry.
As customary, the group would walk along Loch Vaa after lunch. Tragically, on this occasion, one of the boys who ventured into the water for a swim found himself in difficulty. Despite Paterson's valiant efforts to rescue him, they both met a devastating fate, drowning in Inverness-shire on 3rd August 1975.
“I had lost my guiding light. It was as tragic for me as Mike Tyson losing his manager Cus D’Amato. When I said I wanted to be a photographer, people couldn’t understand or support my ambition. If I said I wanted to be a simple high-street wedding photographer, they got that. But I wanted something different. In that sense, Donald Paterson alone grasped what I aimed for in life.”
Navigating Cultural Expectations
The mentorship Paterson provided was, until then, the most significant act in the life of young Dennis Morris, who was still only fifteen. He never knew his father, and there were three more kids that his mother left behind in Jamaica. So, in a way, he considered himself the lucky one. His mother, like many Black West Indians of her generation, found herself caught up in the daily struggle for survival. No one in his family or broader community had ever encouraged him or anyone else to follow their passion.
According to Dennis, “Our problem within our communities is we bring our children up as slaves. The idea is as soon as you are capable, you must put money on the table.”
In contrast, he observes that in a white society, parents encourage their children to find their own path and make their way without the pressure to provide financial support from an early age. He acknowledges that expressing such thoughts may be resisted, with accusations of not being "black enough." But he firmly believes that children should be raised focusing on personal growth and pursuing their passions, even if it potentially alienates their families.
At his shows, he wholeheartedly encounters young black kids who aspire to become photographers and artists or who seek to pursue other unconventional paths. He offers them a simple message: "Just do it, even if you lose your family." Dennis believes in following one's heart, acknowledging that it can be challenging within the expectations of their community. He has seen time and time again, however, how other communities prioritise providing the best opportunities for their offspring, ultimately leading to greater success and fulfilment.
“Our children are brought up to put something on the table. But they didn’t ask to be here. We brought them into this world. It’s our job to encourgae and support them.”
Unconventional Path to Success
We discuss whether Dennis sometimes feels too closely associated with the Bob Marley era or if he ever wishes he could shake it off. While he acknowledges the blessings and opportunities that have come with the wonderful images of that time, he is quick to emphasise that his work transcends and extends far beyond that period. Morris mentions his involvement with the Sex Pistols, an English punk rock band formed in London in 1975, highlighting that few photographers have two or more distinct bodies of work as he does.
He discusses his time in Australia, where he lived and worked with the Aborigines, capturing their stories through photography. He was keen to showcase his work on "the silent genocide happening to the Aboriginal people in Australia," a cause often forgotten by the world. He also reflects on the peculiar dynamics of Australian society, where English settlers and their descendants clash with indigenous communities, often leading to right-wing sentiments.
“During my time in Australia, I moved around a lot, and one of the places I visited was Tasmania. The history of Tasmania is that the settlers wiped out every single Aboriginal person there. They used to hunt them down and even chop off their hands and feet. So, while I was there, walking around, it felt like they missed one, you know what I mean? It was eerie and a very strange place.”
Despite the challenges, Morris asserts the importance of maintaining self-worth, confidence, and a mindset of resilience. He carries himself as an ambassador, believing that by embodying strength and dignity, others will stand up alongside him. Through his experiences and diverse portfolio, Morris continues to shine a light on important issues and share different perspectives.
The Price of Fame
He has seen success in his career and maintained a loyal following among music enthusiasts, punk fans, and everyday people on the streets who appreciate his work. Undoubtedly, he has benefited from being in the right place at the right time as a teenage photography obsessive. Dennis Morris is widely recognised as the first photographer to capture the icons of "rebel music," chronicling the rise of punk and reggae on the global stage in the mid-1970s. He has achieved much since then but still feels he has not received the recognition he deserves.
“Sometimes I can be a stranger at my own show,” he says, “because everyone’s looking for the photographer. They can’t believe it’s me. So, I stand there calmly, taking it all in. It doesn’t faze me. But I’ve seen situations where other people get overwhelmed by that kind of vibe. And eventually, they all come over to you after they’ve been to everybody else. And after that, I just want to get rid of them because I preferred it when I was alone, watching them searching for me. Yeah, it’s always better that way.”
When discussing his aspirations and legacy, Dennis Morris expresses that his focus is not solely on what lies ahead. Instead, he embraces the present, immersing himself in various projects and seizing opportunities as and when they come. As a photographer, he finds himself in a unique position where his name and work have gained international recognition. However, within England's societal and institutional framework, Morris feels a sense of disconnect without pinpointing the exact reason. He notices that individuals with lesser talent have their work showcased in some prestigious institutions, whereas he struggles to fit into that mould.
Nonetheless, Dennis Morris finds solace in the success of his own exhibitions, which attract significant attention and media coverage. He confides in his wife, acknowledging the possibility that true recognition may come only after his passing, a phenomenon often observed in the art world. Nevertheless, he remains content and fulfilled, thoroughly enjoying his current journey and the experiences it brings.
