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In 1973, a pivotal moment occurred on a brisk morning that would forever alter the trajectory of a 14-year-old Dennis Morris’s life.
“Bob Marley was embarking on his inaugural tour of England, and I resolved to photograph him. Consequently, I skipped school to attend his first London performance at a local club,” Morris recounts.
“As he approached, I inquired, ‘May I take your picture?’ to which he responded, ‘Yeah man, come in’.”
During intermissions in the soundcheck, Marley engaged in conversation with the young Morris, discussing the experience of growing up in England, while Morris inquired about Marley’s life in Jamaica.
“He then shared details about the tour and extended an invitation for me to join. The following morning, I packed my bag, feigning a sports commitment, went to the hotel, and we departed,” Morris explains.
The tour was cut short due to band members’ homesickness triggered by the first snowfall, according to Morris. However, those few weeks marked the beginning of a career that would see him photograph numerous global music icons.
Many of these images, including an iconic shot of Marley taken in the band’s van during that tour, are featured in a major exhibition of his work at The Photographers’ Gallery in Soho.
Born in Jamaica in 1960 and relocating to London’s East End at age five, Morris’s fascination with photography began at age nine as a choirboy at a local church, which had a “very eccentric” vicar and its own photography club.
“There was a darkroom in the vicarage, and I witnessed an older boy printing a photograph. At that moment, I knew that photography would define my life,” he recalls.
After capturing his initial photos of Marley in 1973, Morris was present to photograph him again when the reggae legend returned to London two years later for a memorable performance at the Lyceum Theatre.
“I captured some exceptional shots, having observed their performance during that first tour. I knew exactly how he performed, and the result was covers for NME, Melody Maker, and Time Out magazines,” Morris states.
Morris continued to collaborate with Marley, photographing him until his death in 1981.
“My aspiration wasn’t to become a music photographer; I initially aimed to be a war photographer. However, I was delightfully detoured,” he says.
Nevertheless, Morris discovered his own version of photographing conflict when he was invited to document the Sex Pistols on tour during the height of the punk era in 1977.
“It was an incredibly chaotic environment, filled with constant threats and attacks whenever they ventured into the streets. The gigs themselves were equally chaotic,” Morris describes.
“Working with the Pistols provided me with my war, in essence. For me, it was perfect.”
Other artists, ranging from Patti Smith to Oasis, Goldie to Radiohead, followed suit, with Morris traveling the globe with various acts.
However, the London-based photographer always viewed this work as a means to fund his true passion: reportage and documentary, which are also prominently featured in the exhibition.
His early work led to projects such as “Growing Up Black,” which explored black culture in 1970s London; “Southall – A Home from Home,” which focused on the Sikh community; and a look at life in the capital in “This Happy Breed.”
“I was documenting my community, my neighborhood, and then expanding beyond that,” he explains.
“I possessed the ability to gain people’s trust and have them open their doors… It’s a natural knack that I can’t fully explain. They see me and instinctively trust me.”
Morris believes that this ability has contributed to his success in both documentary-making and the music industry.
“When photographing musicians, I strive to remove their public persona and reveal their true selves, as they often project a specific image,” he explains.
“Many people have remarked that my photographs, whether of Bob Marley or the Sex Pistols, create a sense of immersion in the environment. It’s not just a snapshot; it evokes the feeling of being there, of being a part of it,” he elaborates.
Morris expresses immense satisfaction with the response to the exhibition, which initially premiered at the Maison Européenne de la Photographie in Paris before moving to The Photographers’ Gallery, where it will conclude later this month.
“People have shared that they are seeing reflections of their past lives, their parents’ lives, or other personal connections. With the ‘Growing Up Black’ images, for example, many young individuals were told stories by their parents about their early experiences in England, and they’re reacting with amazement, realizing that it truly was as they were told,” Morris says.
“On the music side, viewers are witnessing intimate moments of a band or a movement, gaining insight into the journey required to achieve their level of success.”
“I am incredibly proud of it all,” he concludes.
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