SDE: But did she do that thing that some artists do where they look at a contact sheet and they’ll put crosses through images, to say ‘do no use these’ She trusted me and expected ideas from me. She loved the pictures and I sent her the book when it was finally finished and then three years later she called me to shoot the official photos for the Hounds Of Love album.
She and the dancers were still wearing their stage clothes and they performed for the camera very easily, which was very unusual. Actually, she had one of Lindsey’s dancers with her, so it all happened very easily, she was very excited about the book and she agreed to do a brief photo shoot for an Italian magazine which we improvised in the hotel, with my portable studio. So I introduced myself with a draft of the book. I met here in 1982 when she was promoting The Dreaming and I’d just finished working on a book of photos of Lindsay Kemp, who was her mentor. Did you have any concerns that she’d try to control you too much?
SuperDeluxeEdition: You started working with Kate at a time when she was taking full control of the sound of her music and her image. On the eve of the publication of a deluxe book of these photos – called The Kate Inside – and a south London exhibition, SDE spoke to Guido about the experience of photographing Kate Bush over a decade… He was then trusted enough to be invited by Kate to take (largely unseen) ‘reportage’ shots on the set of her 1993 film The Line, The Cross and The Curve. Italian photographer Guido Harari first photographed Kate Bush just after 1982’s The Dreaming was released and went on to take the official promotional shots for both Hounds of Love (1985) and The Sensual World (1989).