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gallery http://www.backstreets.com/hungergallery/gallery.html gallery ©Mary Alfieri Asbury Park, NJ December 13, 1974 After seeing Bruce perform for his first Bottom Line show, a writer friend and I wanted to do a story on him. Mike Appel, his manager at the time, would only allow stories that would feature Bruce on the cover. “Crawdaddy!” turned us down, but a local Long Island rock’n’roll paper called “Good Times” agreed to let us do a cover story. We went down to Bruce’s tiny house in Long Branch—I think the house number was actually 7½ ! He was very charming, and graciously let me photograph him at Asbury Park, where he somewhat reluctantly agreed to be photographed in front of the carousel. I sent a copy of the proofs to Mike, and later when I ran into him, he said that Bruce had seen them and said, “That’s me, those photos are who I am.” —M.A.  http://www.backstreets.com/hungergallery/gallery.html#0 e3faccfa-b3d3-49a4-87be-1d2e1f2e6823 http://www.backstreets.com/hungergallery/gallery_files/Media/Mary_Alfieri/thumb.jpg http://www.backstreets.com/hungergallery/gallery_files/Media/Mary_Alfieri/micro.jpg <div style="padding: 0px; " class="style_External_168_16"><div class="style">©Mary Alfieri Asbury Park, NJ December 13, 1974 After seeing Bruce perform for his first Bottom Line show, a writer friend and I wanted to do a story on him.  Mike Appel, his manager at the time, would only allow stories that would feature Bruce on the cover.  “Crawdaddy!” turned us down, but a local Long Island rock’n’roll paper called “Good Times” agreed to let us do a cover story.  We went down to Bruce’s tiny house in Long Branch—I think the house number was actually 7½ ! He was very charming, and graciously let me photograph him at Asbury Park, where he somewhat reluctantly agreed to be photographed in front of the carousel.    I sent a copy of the proofs to Mike, and later when I ran into him, he said that Bruce had seen them and said, “That’s me, those photos are who I am.” —M.A. </div></div> ©Danny Clinch Milwaukee, WI August 30, 2008 Danny Clinch has been photographing Bruce Springsteen regularly since the E Street Band reunited in 1999, and his concert photography has graced numerous Springsteen projects over the last decade, from tourbooks to “Live in New York City.” Offstage, Danny provided the album cover images for “The RIsing” and “We Shall Overcome: The Seeger Sessions.” As a director and filmmaker, he shot the acoustic “Countin’ on a Miracle” video, and the film that accompanied “Devils & Dust.” Describing his concert photography M.O., Danny recently told Backstreets, “I often don’t stand in front of the lead singer, because that’s the shot that everybody gets. If I can get up and stand up on the side of the stage and shoot across, or get behind the stage and shoot out towards the audience, you definitely get the shot from a lesser-known perspective.” That’s the perspective Danny offers here, in a photograph taken from the stage at the Harley-Davidson 105th Anniversary Festival at the end of the Magic tour, the E Street Band’s last stop of 2008. http://www.backstreets.com/hungergallery/gallery.html#1 64444cfb-887a-478b-b602-cfa5720fba1e http://www.backstreets.com/hungergallery/gallery_files/Media/Danny_Clinch/thumb.jpg http://www.backstreets.com/hungergallery/gallery_files/Media/Danny_Clinch/micro.jpg <div style="padding: 0px; " class="style_External_168_16"><div class="style">©Danny Clinch Milwaukee, WI August 30, 2008 Danny Clinch has been photographing Bruce Springsteen regularly since the E Street Band reunited in 1999, and his concert photography has graced numerous Springsteen projects over the last decade, from tourbooks to “Live in New York City.” Offstage, Danny provided the album cover images for “The RIsing” and “We Shall Overcome: The Seeger Sessions.” As a director and filmmaker, he shot the acoustic “Countin’ on a Miracle” video, and the film that accompanied “Devils & Dust.” Describing his concert photography M.O., Danny recently told Backstreets, “I often don’t stand in front of the lead singer, because that’s the shot that everybody gets. If I can get up and stand up on the side of the stage and shoot across, or get behind the stage and shoot out towards the audience, you definitely get the shot from a lesser-known perspective.” That’s the perspective Danny offers here, in a photograph taken from the stage at the Harley-Davidson 105th Anniversary Festival at the end of the Magic tour, the E Street Band’s last stop of 2008. </div></div> ©Danny Clinch Colts Neck, NJ 2005 Danny Clinch has been photographing Bruce Springsteen regularly since the E Street Band reunited in 1999, and his concert photography has graced numerous Springsteen projects over the last decade, from tourbooks to “Live in New York City.” Offstage, Danny provided the album cover images for “The Rising” and “We Shall Overcome: The Seeger Sessions.” As a director and filmmaker, he shot the acoustic “Countin’ on a Miracle” video, and the film that accompanied "Devils & Dust." BONUS PRINT: This is the second of two prints Danny generously contributed to this cause, raising the total number of signed prints available in the drawing to 15. "I took this photograph while I was making the short film for the 'Devils & Dust' DualDisc," Clinch says. "It was one of my favorite musical experiences ever: Bruce playing six songs from the record, in an old farmhouse for me and my small crew... songs he had yet to play in public. As usual, he put in 150% and blew us all away." A similar image from the shoot previously appeared on the cover of Backstreets #83/84, the silver anniversary issue of the magazine. http://www.backstreets.com/hungergallery/gallery.html#2 d52256d1-933a-4ad3-869c-032629d77a4a http://www.backstreets.com/hungergallery/gallery_files/Media/Danny_Clinch2/thumb.jpg http://www.backstreets.com/hungergallery/gallery_files/Media/Danny_Clinch2/micro.jpg <div style="padding: 0px; " class="style_External_168_16"><div class="style">©Danny Clinch Colts Neck, NJ 2005 Danny Clinch has been photographing Bruce Springsteen regularly since the E Street Band reunited in 1999, and his concert photography has graced numerous Springsteen projects over the last decade, from tourbooks to “Live in New York City.” Offstage, Danny provided the album cover images for “The Rising” and “We Shall Overcome: The Seeger Sessions.” As a director and filmmaker, he shot the acoustic “Countin’ on a Miracle” video, and the film that accompanied "Devils & Dust." BONUS PRINT: This is the second of two prints Danny generously contributed to this cause, raising the total number of signed prints available in the drawing to 15. "I took this photograph while I was making the short film for the 'Devils & Dust' DualDisc," Clinch says. "It was one of my favorite musical experiences ever: Bruce playing six songs from the record, in an old farmhouse for me and my small crew... songs he had yet to play in public. As usual, he put in 150% and blew us all away." A similar image from the shoot previously appeared on the cover of Backstreets #83/84, the silver anniversary issue of the magazine. </div></div> ©Anton Corbijn Colts Neck, NJ 2005 Anton Corbijn has been most closely associated with U2 and Depeche Mode, having a major hand in the visual identity of these bands with his creative direction and striking monochrome imagery. As a photographer and video director, Corbijn has also worked extensively with R.E.M., Tom Waits, Echo & the Bunnymen, and Nick Cave. In 2007, Corbijn directed his first feature film, "Control," and he is currently shooting his next film. "I am very happy to be part of this project to fight hunger," Corbijn says, "and through the link with Bruce Springsteen it is even more exciting. Let's aim to eradicate poverty as well as war in our lifetime." Corbijn first photographed Bruce for Rolling Stone in 1995. A decade later, he brought his camera to Springsteen's horse farm in Colts Neck, NJ. His photographs from that 2005 session were used as the cover and on the inner sleeve for Springsteen's solo "Devils & Dust" album. Here, he offers a never-before-seen outtake from that session. http://www.backstreets.com/hungergallery/gallery.html#3 2ef6ebb6-b68d-44e7-9763-9c1f022e64cb http://www.backstreets.com/hungergallery/gallery_files/Media/Anton_Corbijn/thumb.jpg http://www.backstreets.com/hungergallery/gallery_files/Media/Anton_Corbijn/micro.jpg <div style="padding: 0px; " class="style_External_168_16"><div class="style">©Anton Corbijn Colts Neck, NJ 2005 Anton Corbijn has been most closely associated with U2 and Depeche Mode, having a major hand in the visual identity of these bands with his creative direction and striking monochrome imagery. As a photographer and video director, Corbijn has also worked extensively with R.E.M., Tom Waits, Echo & the Bunnymen, and Nick Cave.  In 2007, Corbijn directed his first feature film, "Control," and he is currently shooting his next film. "I am very happy to be part of this project to fight hunger," Corbijn says, "and through the link with Bruce Springsteen it is even more exciting. Let's aim to eradicate poverty as well as war in our lifetime." Corbijn first photographed Bruce for Rolling Stone in 1995. A decade later, he brought his camera to Springsteen's horse farm in Colts Neck, NJ. His photographs from that 2005 session were used as the cover and on the inner sleeve for Springsteen's solo "Devils & Dust" album. Here, he offers a never-before-seen outtake from that session. </div></div> ©Lynn Goldsmith New York, NY 1978 Archival ink jet, 19”x13” image on 16”x20” paper, signed lower right This image of Bruce and the E Street Band was made in my studio in New York City in 1978. “Darkness on the Edge of Town” was about to be released. I wanted to make an image of the group that would reflect the tone of the album as well as the relationship of the band to each other. The record expressed the desperate cries of good men trapped in bad lives, and the idea that by discovering one’s own humanity and abilities, the individual could triumph on his own terms. Good friends, blood brothers, united in their desire to work hard and be the best that they could be as individual players and more importantly as a band, Bruce and the E Street Band gave fans both recorded music and performances that they could believe in. It was the voice of hope and continues to be so. —L.G. http://www.backstreets.com/hungergallery/gallery.html#4 ba1d4b1d-375d-4de0-9eba-2450f9b558c9 http://www.backstreets.com/hungergallery/gallery_files/Media/Lynn_Goldsmith/thumb.jpg http://www.backstreets.com/hungergallery/gallery_files/Media/Lynn_Goldsmith/micro.jpg <div style="padding: 0px; " class="style_External_168_16"><div class="style">©Lynn Goldsmith New York, NY 1978 Archival ink jet, 19”x13” image on 16”x20” paper, signed lower right This image of Bruce and the E Street Band was made in my studio in New York City in 1978.  “Darkness on the Edge of Town” was about to be released. I wanted to make an image of the group that would reflect the tone of the album as well as the relationship of the band to each other. The record expressed the desperate cries of good men trapped in bad lives, and the idea that by discovering one’s own humanity and abilities, the individual could triumph on his own terms. Good friends, blood brothers, united in their desire to work hard and be the best that they could be as individual players and more importantly as a band, Bruce and the E Street Band gave fans both recorded music and performances that they could believe in. It was the voice of hope and continues to be so. —L.G. </div></div> ©Annie Leibovitz Philadelphia, PA 1999 20x24" digital C Print, signed, dated and numbered on the back Annie's photograph was taken backstage at the First Union Center in Philadelphia on September 20th, 1999, during Springsteen's reunion tour with the E Street Band. The photograph was shot on assignment for “Vanity Fair” (published December 1999 issue) and was subsequently published in Annie's books “American Music” (2003) and “A Photographer's Life: 1990-2005” (2006). Annie has shot Bruce ten times throughout her career, most recently in 2003. These shoots have yielded images published in “Rolling Stone” and “Vanity Fair” as well as the covers for Springsteen's albums “Born in the U.S.A.” and “Tunnel of Love.” http://www.backstreets.com/hungergallery/gallery.html#5 540825cb-f889-4baa-a145-2a42869f5bb9 http://www.backstreets.com/hungergallery/gallery_files/Media/Annie_Leibovitz/thumb.jpg http://www.backstreets.com/hungergallery/gallery_files/Media/Annie_Leibovitz/micro.jpg <div style="padding: 0px; " class="style_External_168_16"><div class="style">©Annie Leibovitz Philadelphia, PA 1999 20x24" digital C Print, signed, dated and numbered on the back Annie's photograph was taken backstage at the First Union Center in Philadelphia on September 20th, 1999, during Springsteen's reunion tour with the E Street Band. The photograph was shot on assignment for “Vanity Fair” (published December 1999 issue) and was subsequently published in Annie's books “American Music” (2003) and “A Photographer's Life: 1990-2005” (2006). Annie has shot Bruce ten times throughout her career, most recently in 2003. These shoots have yielded images published in “Rolling Stone” and “Vanity Fair” as well as the covers for Springsteen's albums “Born in the U.S.A.” and “Tunnel of Love.” </div></div> ©David Michael Kennedy Brewster, NY 1982 14” x 14” Palladium Print, signed & numbered (#5/30) I remember when I was asked to do the images for “Nebraska.” The art director, Andy Klein, had shown Bruce some of my landscapes, as he had wanted to use a landscape for the cover. After he picked one of my landscapes for the cover he saw some of my portrait work and decided he'd like me to do that part of the project as well. Andy called me and sent over a rough tape of “Nebraska,” and I was blown away. I was extremely honored to work on that project! This photograph was done on my family farm in upstate New York. Bruce drove over from New Jersey in his old pickup truck by himself. It was all so low-key and unpretentious. —D.M.K. http://www.backstreets.com/hungergallery/gallery.html#6 2e59e66e-15a7-4383-9f55-e4a45482aa00 http://www.backstreets.com/hungergallery/gallery_files/Media/David_Michael_Kennedy/thumb.jpg http://www.backstreets.com/hungergallery/gallery_files/Media/David_Michael_Kennedy/micro.jpg <div style="padding: 0px; " class="style_External_168_16"><div class="style">©David Michael Kennedy Brewster, NY 1982  14” x 14” Palladium Print, signed & numbered (#5/30) I remember when I was asked to do the images for “Nebraska.” The art director, Andy Klein, had shown Bruce some of my landscapes, as he had wanted to use a landscape for the cover.   After he picked one of my landscapes  for the cover he saw some of my portrait work and decided he'd like me to do that part of the project as well. Andy called me and sent over a rough tape of “Nebraska,” and I was blown away.  I was extremely honored to work on that project!   This photograph was done on my family farm in upstate New York. Bruce drove over from New Jersey in his old pickup truck by himself. It was all so low-key and unpretentious. —D.M.K. </div></div> ©Eric Meola 1975 From the back cover of his book “Born to Run: The Unseen Photos.” Archival carbon pigment, 12"x18" image on 18"x24" paper. Every time I look at any photographs from the “Born to Run” period—mine or someone else's—I think about dreams and how powerful they can be, and how important it is to follow those dreams and never let go. "Photographers Against Hunger" is a small idea that needs the help of the readers of Backstreets and those who have found inspiration in Bruce's lyrics, and who have grown up in a world seemingly filled with bad news nearly every moment of every day. I want some good news for bad times, and I want you to understand that you—the readers of Backstreets and fans of Bruce's music—are a very real part of this effort. We can "spend our lives waiting for a moment that just don't come," or we can make life a little better for those far less fortunate than ourselves. —E.M. http://www.backstreets.com/hungergallery/gallery.html#7 848b9275-377d-4509-95a4-6c8070cf9b88 http://www.backstreets.com/hungergallery/gallery_files/Media/Eric_Meola/thumb.jpg http://www.backstreets.com/hungergallery/gallery_files/Media/Eric_Meola/micro.jpg <div style="padding: 0px; " class="style_External_168_16"><div class="style">©Eric Meola 1975 From the back cover of his book “Born to Run: The Unseen Photos.” Archival carbon pigment, 12"x18" image on 18"x24" paper. Every time I look at any photographs from the “Born to Run” period—mine or someone else's—I think about dreams and how powerful they can be, and how important it is to follow those dreams and never let go. "Photographers Against Hunger" is a small idea that needs the help of the readers of Backstreets and those who have found inspiration in Bruce's lyrics, and who have grown up in a world seemingly filled with bad news nearly every moment of every day. I want some good news for bad times, and I want you to understand that you—the readers of Backstreets and fans of Bruce's music—are a very real part of this effort.  We can "spend our lives waiting for a moment that just don't come," or we can make life a little better for those far less fortunate than ourselves. —E.M.</div></div> ©Eric Meola “Hurst” New York, NY 1978 16”x16" image on 20"x24" paper. In the fall of 1977 and the spring of 1978, I did a number of shoots with Bruce—some at the house he was living in on Telegraph Hill near Holmdel, New Jersey; some out west in the Utah desert; and several shoots in my studio in New York. One day in Holmdel I heard “Darkness on the Edge of Town” for the first time, and the title stuck with me as a guide to what I was going for: dark, moody images in the desert, and dark, moody portraits in the studio. Bruce would always carry a bag of clothing changes—things he felt comfortable in and clothes he wore all the time. When he wore this “Hurst” shirt I hadn’t heard the lyrics to “Racing’ in the Street,” but when I did, I remembered this image and that series. I didn’t know the significance of the shirt at the time, but then I remembered one of the first images I ever made of Bruce, on Highway 9 in New Jersey in 1975. We were driving in his ’57 Chevy convertible, the one with flames all along the sides. Suddenly he reached down and shifted and then I saw it—that Hurst on the floor. This shot was never used, and Frank Stefanko’s great image of Bruce against the cabbage rose wallpaper became the cover. It was a dark time, but not because of that. Elvis had just died, and Bruce was coming out from the lawsuit with Mike Appel, and the lyrical beauty of “Born to Run” seemed so far away. And I was going through things myself. When I first heard the lyric “...she stares off alone into the night, with the eyes of one who hates for just being born,” I heard more than a bit of me in those words. But in another way, it was a great time—there were still bumper cars in Asbury, and Tillie still glowed at night, in the great darkness that was about to swallow up that town. When I look at this shot, I think of the lyrics to “Racing in the Street,” but I also think of Frankie and of friendship, and a day a few years ago when he took me on a walking tour of Haddonfield, NJ and pointed out the house where he made the cover shot of “Darkness.” Who are we without friends ? —E.M. http://www.backstreets.com/hungergallery/gallery.html#8 f502e8de-533c-4b9a-9326-226a461a8100 http://www.backstreets.com/hungergallery/gallery_files/Media/Eric_Meola2a/thumb.jpg http://www.backstreets.com/hungergallery/gallery_files/Media/Eric_Meola2a/micro.jpg <div style="padding: 0px; " class="style_External_168_16"><div class="style">©Eric Meola “Hurst” New York, NY 1978 16”x16" image on 20"x24" paper. In the fall of 1977 and the spring of 1978, I did a number of shoots with Bruce—some at the house he was living in on Telegraph Hill near Holmdel, New Jersey; some out west in the Utah desert; and several shoots in my studio in New York. One day in Holmdel I heard “Darkness on the Edge of Town” for the first time, and the title stuck with me as a guide to what I was going for: dark, moody images in the desert, and dark, moody portraits in the studio. Bruce would always carry a bag of clothing changes—things he felt comfortable in and clothes he wore all the time. When he wore this “Hurst” shirt I hadn’t heard the lyrics to “Racing’ in the Street,” but when I did, I remembered this image and that series. I didn’t know the significance of the shirt at the time, but then I remembered one of the first images I ever made of Bruce, on Highway 9 in New Jersey in 1975. We were driving in his ’57 Chevy convertible, the one with flames all along the sides. Suddenly he reached down and shifted and then I saw it—that Hurst on the floor. This shot was never used, and Frank Stefanko’s great image of Bruce against the cabbage rose wallpaper became the cover. It was a dark time, but not because of that. Elvis had just died, and Bruce was coming out from the lawsuit with Mike Appel, and the lyrical beauty of “Born to Run” seemed so far away. And I was going through things myself. When I first heard the lyric “...she stares off alone into the night, with the eyes of one who hates for just being born,” I heard more than a bit of me in those words. But in another way, it was a great time—there were still bumper cars in Asbury, and Tillie still glowed at night, in the great darkness that was about to swallow up that town. When I look at this shot, I think of the lyrics to “Racing in the Street,” but I also think of Frankie and of friendship, and a day a few years ago when he took me on a walking tour of Haddonfield, NJ and pointed out the house where he made the cover shot of “Darkness.” Who are we without friends ? —E.M.</div></div> ©Neal Preston Kyoto, Japan April 19, 1985 The "Born in the U.S.A." tour was headed to Japan early in ’85, and Bruce had never played there… I felt like this had the all the elements of a great photo essay: “The Ultimate Western Rock God takes Japan by Storm,” if you will. I brought the idea up with Jon [Landau] and Barbara [Carr], who brought it to Bruce for his OK. Barbara called me back and said, “Get a good assignment, and we’ll see you in Japan.” Coincidentally, an agent of mine was working on a deal for me to go to China with the English group Wham!. The Chinese dates for Wham! were a week before Bruce’s Japanese tour, dovetailing perfectly—I realized I could shoot both in one long trip to Asia. I secured an assignment from “Life” magazine to shoot Bruce in Japan—and they bailed on the whole deal about three days before I was headed to the Far East. Luckily “Rolling Stone” stepped up to the plate and agreed to pick up all my expenses on the Springsteen portion of the trip in return for first refusal rights on all my shots. The trip had been saved. The Kyoto gig, where this photo was taken, was at a really small venue—maybe three or four thousand seats, tops. During soundcheck, while the band played, Bruce walked all over the venue checking the acoustics (still plugged in, but wireless). I followed him around the hall, up and down the rows, but from a respectful distance, knowing that he still wasn’t used to me being around that much (in my line of work, becoming the proverbial fly on the wall takes time). As I slowly crept closer I finally managed to get a shot that told a story: a portrait of a true perfectionist with his game face on. It was the first time I realized that when it comes to a live gig, with Bruce it’s all business: he is there to ROCK, it’s his JOB to ROCK you… and you WILL ROCK. Period. —N.P. http://www.backstreets.com/hungergallery/gallery.html#9 a1ef3d6f-b24a-479b-a667-b3c58ea48121 http://www.backstreets.com/hungergallery/gallery_files/Media/Neal_Preston/thumb.jpg http://www.backstreets.com/hungergallery/gallery_files/Media/Neal_Preston/micro.jpg <div style="padding: 0px; " class="style_External_168_16"><div class="style">©Neal Preston Kyoto, Japan April 19, 1985 The "Born in the U.S.A." tour was headed to Japan early in ’85, and Bruce had never played there… I felt like this had the all the elements of a great photo essay: “The Ultimate Western Rock God takes Japan by Storm,” if you will. I brought the idea up with Jon [Landau] and Barbara [Carr], who brought it to Bruce for his OK. Barbara called me back and said, “Get a good assignment, and we’ll see you in Japan.”  Coincidentally, an agent of mine was working on a deal for me to go to China with the English group Wham!. The Chinese dates for Wham! were a week before Bruce’s Japanese tour, dovetailing perfectly—I realized I could shoot both in one long trip to Asia. I secured an assignment from “Life” magazine to shoot Bruce in Japan—and they bailed on the whole deal about three days before I was headed to the Far East. Luckily “Rolling Stone” stepped up to the plate and agreed to pick up all my expenses on the Springsteen portion of the trip in return for first refusal rights on all my shots. The trip had been saved.  The Kyoto gig, where this photo was taken, was at a really small venue—maybe three or four thousand seats, tops. During soundcheck, while the band played, Bruce walked all over the venue checking the acoustics (still plugged in, but wireless). I followed him around the hall, up and down the rows, but from a respectful distance, knowing that he still wasn’t used to me being around that much (in my line of work, becoming the proverbial fly on the wall takes time). As I slowly crept closer I finally managed to get a shot that told a story: a portrait of a true perfectionist with his game face on. It was the first time I realized that when it comes to a live gig, with Bruce it’s all business: he is there to ROCK, it’s his JOB to ROCK you… and you WILL ROCK. Period. —N.P.</div></div> ©Neal Preston London, England July 4, 1985 30" x 40" image On the 1985 stretch of the Born in the U.S.A. tour, Bruce and the band played London's Wembley Stadium on, of all days, the Fourth of July. It was a great day, with seemingly every American in the U.K. coming out to the show. "Springsteen-mania" was certainly in full force. I wanted to get a photograph that really spoke of the magnitude of the show; in fact, of the whole tour. I decided to try something I hadn't done previously at any rock show. I knew that at a certain point (I think it was during "Hungry Heart") Bruce would always come out to the small "pod" at the far stage-left end, to work the crowd on that side. During intermission, I clamped a Nikon on the pod’s back railing, facing out to the crowd. I pre-focused it with a fisheye lens, then ran a ten-foot remote cable from the camera down underneath the stage. I would therefore be able to fire the camera by standing directly below and pressing the button on the cable when Bruce was at the right place—I just wouldn't be able to see him while I did it. To hedge my bet a bit, I told Bruce about the remote set-up during intermission and asked if he could possibly play to the back of the house when he hit the pod stage—I wanted to see his face in the shot, not his back. He said he'd try, but there would be no guarantees. When "Hungry Heart" started, there I was, under the stage with cable in hand. All of a sudden, through the wood slats in the runway, I saw a pair of black boots running full speed towards the little pod stage. I counted to ten, held my breath and pressed the button, reeling off 36 frames with the motor drive. I had no idea if I had anything worthwhile on film until I saw the processed film 2 days later.... —N.P. http://www.backstreets.com/hungergallery/gallery.html#10 0bb8e27b-0721-4c7c-baba-cc50aafb4704 http://www.backstreets.com/hungergallery/gallery_files/Media/Neal_Preston2/thumb.jpg http://www.backstreets.com/hungergallery/gallery_files/Media/Neal_Preston2/micro.jpg <div style="padding: 0px; " class="style_External_168_16"><div class="style">©Neal Preston London, England July 4, 1985 30" x 40" image On the 1985 stretch of the Born in the U.S.A. tour, Bruce and the band played London's Wembley Stadium on, of all days, the Fourth of July. It was a great day, with seemingly every American in the U.K. coming out to the show. "Springsteen-mania" was certainly in full force. I wanted to get a photograph that really spoke of the magnitude of the show; in fact, of the whole tour. I decided to try something I hadn't done previously at any rock show. I knew that at a certain point (I think it was during "Hungry Heart") Bruce would always come out to the small "pod" at the far stage-left end, to work the crowd on that side. During intermission, I clamped a Nikon on the pod’s back railing, facing out to the crowd. I pre-focused it with a fisheye lens, then ran a ten-foot remote cable from the camera down underneath the stage. I would therefore be able to fire the camera by standing directly below and pressing the button on the cable when Bruce was at the right place—I just wouldn't be able to see him while I did it. To hedge my bet a bit, I told Bruce about the remote set-up during intermission and asked if he could possibly play to the back of the house when he hit the pod stage—I wanted to see his face in the shot, not his back. He said he'd try, but there would be no guarantees. When "Hungry Heart" started, there I was, under the stage with cable in hand. All of a sudden, through the wood slats in the runway, I saw a pair of black boots running full speed towards the little pod stage. I counted to ten, held my breath and pressed the button, reeling off 36 frames with the motor drive. I had no idea if I had anything worthwhile on film until I saw the processed film 2 days later.... —N.P. </div></div> ©Barbara Pyle “Dawn Rehearsal” New York, NY July 20, 1975 “You have to see the band. It should be on the cover [of ‘Born to Run’]. Scariest thing ever. You ain’t never seen faces like that in your life . . . .we were there for four days, and every single minute is on everybody’s face. The light comes through the window, it’s like ten in the morning, we’ve been up for days. We got a gig that night, we’re rehearsing, and what’s worse is I can’t even sing.” —Bruce Springsteen, commenting on Barbara Pyle’s photograph “Dawn Rehearsal” made at 7 a.m. at the Record Plant in New York City on the day “Born to Run” was finished, and the day the band would begin the Born to Run tour with their first show that same evening in Providence. I had the remarkable good fortune to spend most of the last “Born to Run” months in the studio with Bruce and the band. I had only stopped by Record Plant one night for a quick visit. Bruce was stuck on something, and for some unknown reason, it shifted. I became sort of a living “good luck” charm and was asked to be there most every night. I knew I was witnessing history in the making. They were trying for months to finish the album with the record company breathing down Bruce’s neck. “Born to Run” was their “one last chance to make it real.” Photographing Bruce and the Band on their ascent to superstardom was a hobby; but after being given such access, it became a mission. At six a.m. on this final day, they were still recording the last tracks for “Jungleland”—right up to dawn, when they went into their only rehearsal for the Born to Run tour. After that four-day marathon, we were completely wiped out. Sitting on the stairs with my Leica, I finally worked up the nerve to take a couple of frames. Then they broke out of there “to win.” —B.P. http://www.backstreets.com/hungergallery/gallery.html#11 1103d0f0-b43f-4f93-b665-7f3e68f841d9 http://www.backstreets.com/hungergallery/gallery_files/Media/Barbara_Pyle/thumb.jpg http://www.backstreets.com/hungergallery/gallery_files/Media/Barbara_Pyle/micro.jpg <div style="padding: 0px; " class="style_External_168_16"><div class="style">©Barbara Pyle “Dawn Rehearsal” New York, NY July 20, 1975 “You have to see the band. It should be on the cover [of ‘Born to Run’]. Scariest thing ever. You ain’t never seen faces like that in your life . . . .we were there for four days, and every single minute is on everybody’s face. The light comes through the window, it’s like ten in the morning, we’ve been up for days. We got a gig that night, we’re rehearsing, and what’s worse is I can’t even sing.” —Bruce Springsteen, commenting on Barbara Pyle’s photograph “Dawn Rehearsal” made at 7 a.m. at the Record Plant in New York City on the day “Born to Run” was finished, and the day the band would begin the Born to Run tour with their first show that same evening in Providence. I had the remarkable good fortune to spend most of the last “Born to Run” months in the studio with Bruce and the band.  I had only stopped by Record Plant one night for a quick visit.  Bruce was stuck on something, and for some unknown reason, it shifted.  I became sort of a living “good luck” charm and was asked to be there most every night. I knew I was witnessing history in the making. They were trying for months to finish the album with the record company breathing down Bruce’s neck. “Born to Run” was their “one last chance to make it real.”  Photographing Bruce and the Band on their ascent to superstardom was a hobby; but after being given such access, it became a mission. At six a.m. on this final day, they were still recording the last tracks for “Jungleland”—right up to dawn, when they went into their only rehearsal for the Born to Run tour. After that four-day marathon, we were completely wiped out.  Sitting on the stairs with my Leica, I finally worked up the nerve to take a couple of frames.  Then they broke out of there “to win.” —B.P.</div></div> ©Barbara Pyle “My Home Town” Pauls Valley, OK September 17, 1975 12”x18" image on 16"x20" paper. I first saw Bruce and the E Street Band by accident. while photographing the Schaefer Music Festival on August 3, 1974. I was blown away by their music. For the next year, I drove to as many of their gigs as I could reach. They jokingly started calling me their “official unofficial photographer.” I was just expected to be there, and I almost always was—on my self-imposed mission to document this little known New Jersey band. After meeting them in New Orleans and showing them the town, I got invited to go with the Band on their little tour bus—more like a Snowbird family camper. On the road from Dallas to Oklahoma City, I knew by the time we hit “my home town” of Pauls Valley they would be really hungry. I tipped off my parents to be ready. On Highway 77 heading north, I said something like, “Anyone up for some home-cooked southern bar-b-que?” They were, and soon we were there at the house where I grew up, an hour south of Oklahoma City. I’ll never forget that day with Bruce sitting on Dad’s favorite chair reading "The New Yorker"; Roy playing with their dog, Alfie; Clarence chatting with Mom and everyone having a good chill-out before the sound check in Oklahoma City. They were accustomed to my getting them to stand together for group shots—accustomed does not mean pleased. On the way out of Pauls Valley, I asked to pull over on Main Street by my favorite high school café, already abandoned. They stood there for a New York second before Bruce said, “Okay, enough.” That photo ran in the "Time" magazine cover story on October 27, 1975, captioned “Real Roadhouse Rock.” Whenever I hear "My Hometown" or "My Oklahoma Home," I smile and think of that high noon photo on those wide brick streets in front of the Coffee Cup Café, soon to be torn down like in so many small home towns in the USA. —B.P. http://www.backstreets.com/hungergallery/gallery.html#12 c92737d8-c35f-46ee-a34c-5fe883b8d7fd http://www.backstreets.com/hungergallery/gallery_files/Media/Barbara_Pyle2/thumb.jpg http://www.backstreets.com/hungergallery/gallery_files/Media/Barbara_Pyle2/micro.jpg <div style="padding: 0px; " class="style_External_168_16"><div class="style">©Barbara Pyle “My Home Town”  Pauls Valley, OK  September 17, 1975  12”x18" image on 16"x20" paper. I first saw Bruce and the E Street Band by accident. while photographing the Schaefer Music Festival on August 3, 1974. I was blown away by their music. For the next year, I drove to as many of their gigs as I could reach. They jokingly started calling me their “official unofficial photographer.” I was just expected to be there, and I almost always was—on my self-imposed mission to document this little known New Jersey band.  After meeting them in New Orleans and showing them the town, I got invited to go with the Band on their little tour bus—more like a Snowbird family camper. On the road from Dallas to Oklahoma City, I knew by the time we hit “my home town” of Pauls Valley they would be really hungry.  I tipped off my parents to be ready. On Highway 77 heading north, I said something like, “Anyone up for some home-cooked southern bar-b-que?” They were, and soon we were there at the house where I grew up, an hour south of Oklahoma City. I’ll never forget that day with Bruce sitting on Dad’s favorite chair reading "The New Yorker"; Roy playing with their dog, Alfie; Clarence chatting with Mom and everyone having a good chill-out before the sound check in Oklahoma City.  They were accustomed to my getting them to stand together for group shots—accustomed does not mean pleased. On the way out of Pauls Valley, I asked to pull over on Main Street by my favorite high school café, already abandoned. They stood there for a New York second before Bruce said, “Okay, enough.” That photo ran in the "Time" magazine cover story on October 27, 1975, captioned “Real Roadhouse Rock.”  Whenever I hear "My Hometown" or "My Oklahoma Home," I smile and think of that high noon photo on those wide brick streets in front of the Coffee Cup Café, soon to be torn down like in so many small home towns in the USA. —B.P.</div></div> ©David Rose New York, NY January 1995 I shot this photo at The Hit Factory in NYC while Bruce and the E Street Band were recording some additional tracks for “Greatest Hits.” Bruce was sitting off in a corner by himself working on the lyrics during a break. This was when Bruce reunited the E Street Band, and it had the feeling of a great homecoming for everyone there. I feel very fortunate to have Bruce allow me to shoot such intimate behind the scenes shots over the years. They mean far more to me than the album covers or tour work that I have done with him. —D.R. http://www.backstreets.com/hungergallery/gallery.html#13 4018c7b7-d548-4c91-9d61-0bee707a4b96 http://www.backstreets.com/hungergallery/gallery_files/Media/David_Rose/thumb.jpg http://www.backstreets.com/hungergallery/gallery_files/Media/David_Rose/micro.jpg <div style="padding: 0px; " class="style_External_168_16"><div class="style">©David Rose New York, NY January 1995 I shot this photo at The Hit Factory in NYC while Bruce and the E Street Band were recording some additional tracks for “Greatest Hits.” Bruce was sitting off in a corner by himself working on the lyrics during a break. This was when Bruce reunited the E Street Band, and it had the feeling of a great homecoming for everyone there. I feel very fortunate to have Bruce allow me to shoot such intimate behind the scenes shots over the years. They mean far more to me than the album covers or tour work that I have done with him. —D.R.</div></div> ©Pamela Springsteen California 1995 From “The Ghost of Tom Joad” series, used on the inner sleeve for Bruce Springsteen’s 1995 LP One afternoon, in 1995, Bruce and I drove out to the Mojave desert in California to take some photos. He was working on “The Ghost of Tom Joad” at the time. It was late in the day and the sun was going down, so we pulled the car over to the side of the road and quickly snapped some shots. This image was one of my favorites from that day, and was used in the album packaging for the record. . I am proud to be contributing this image to such an amazing and very important organization as the Community FoodBank of New Jersey. —P.S. http://www.backstreets.com/hungergallery/gallery.html#14 6ae24827-eab3-4616-8b6c-78661b93ee12 http://www.backstreets.com/hungergallery/gallery_files/Media/Pamela_Springsteen/thumb.jpg http://www.backstreets.com/hungergallery/gallery_files/Media/Pamela_Springsteen/micro.jpg <div style="padding: 0px; " class="style_External_168_16"><div class="style">©Pamela Springsteen California 1995 From “The Ghost of Tom Joad” series, used on the inner sleeve for Bruce Springsteen’s 1995 LP One afternoon, in 1995, Bruce and I drove out to the Mojave desert in California to take some photos. He was working on “The Ghost of Tom Joad” at the time. It was late in the day and the sun was going down, so we pulled the car over to the side of the road and quickly snapped some shots. This image was one of my favorites from that day, and was used in the album packaging for the record. . I am proud to be contributing this image to such an amazing and very important organization as the Community FoodBank of New Jersey. —P.S. </div></div> ©Frank Stefanko “Among the Cabbage Roses” Haddonfield, New Jersey 1978 16” x 20” silver gelatin This image was taken at my home in Haddonfield, New Jersey, while I was photographing Bruce Springsteen for the album “Darkness on the Edge of Town.” This image was used on the inner sleeve of “Darkness,” while color images from the same shoot were used for the front and back covers. I call it "Among the Cabbage Roses" because Bruce is standing in front of some vintage cabbage rose wallpaper that someone once called the most famous wallpaper in the world. Those of us that have photographed Bruce, worked with Bruce, and believe in Bruce are proud to continue Bruce's worthy support of the New Jersey FoodBank by participating in this campaign to help feed those who need it most. —F.S. http://www.backstreets.com/hungergallery/gallery.html#15 6c6e5cba-58e6-4845-92fe-b5152b4f8678 http://www.backstreets.com/hungergallery/gallery_files/Media/Frank_Stefanko/thumb.jpg http://www.backstreets.com/hungergallery/gallery_files/Media/Frank_Stefanko/micro.jpg <div style="padding: 0px; " class="style_External_168_16"><div class="style">©Frank Stefanko “Among the Cabbage Roses” Haddonfield, New Jersey 1978 16” x 20” silver gelatin This image was taken at my home in Haddonfield, New Jersey, while I was photographing Bruce Springsteen for the album “Darkness on the Edge of Town.” This image was used on the inner sleeve of “Darkness,” while color images from the same shoot were used for the front and back covers.   I call it "Among the Cabbage Roses" because Bruce is standing in front of some vintage cabbage rose wallpaper that someone once called the most famous wallpaper in the world.   Those of us that have photographed Bruce, worked with Bruce, and believe in Bruce are proud to continue Bruce's worthy support of the New Jersey FoodBank by participating in this campaign to help feed those who need it most. —F.S. </div></div> ©Albert Watson 2009 Signed on the back. Originally published on the cover of “Rolling Stone” (issue #1071, February 5, 2009) Albert Watson has made his mark as one of the world’s most successful fashion and commercial photographers during the last 35 years, while creating his own art along the way. His striking images have appeared on more than 250 covers of "Vogue" and have been featured in countless other publications, from "Rolling Stone" to "Time," including iconic portraits of celebrities, such as Mick Jagger, Jack Nicholson and Alfred Hitchcock. Watson also has created the photography for dozens of major corporations, such as Levi’s, Revlon and Chanel. All the while, Albert has spent much of his time on personal projects, taking stunning photographs around the globe, from Marrakech to Las Vegas to the Orkneys. His work has been featured in museums and galleries worldwide, and the photo industry bible, Photo District News, named Albert one of the 20 most influential photographers of all time. Born and raised in Scotland, Albert studied at the Royal College of Art in London before moving to the U.S. in 1970. His awards include a Grammy (1975), ANDY (1983) and Lucie (2006). For this image, Albert told Rollingstone.com "they wanted a strong, direct cover—maybe not eye contact—something that's strong looking and very, very simple. Slightly heroic, you know?” http://www.backstreets.com/hungergallery/gallery.html#16 3e0141ac-7a5c-4a9f-9a37-f3878709f21d http://www.backstreets.com/hungergallery/gallery_files/Media/Albert_Watson/thumb.jpg http://www.backstreets.com/hungergallery/gallery_files/Media/Albert_Watson/micro.jpg <div style="padding: 0px; " class="style_External_168_16"><div class="style">©Albert Watson 2009 Signed on the back. Originally published on the cover of “Rolling Stone” (issue #1071, February 5, 2009) Albert Watson has made his mark as one of the world’s most successful fashion and commercial photographers during the last 35 years, while creating his own art along the way. His striking images have appeared on more than 250 covers of "Vogue" and have been featured in countless other publications, from "Rolling Stone" to "Time," including iconic portraits of celebrities, such as Mick Jagger, Jack Nicholson and Alfred Hitchcock. Watson also has created the photography for dozens of major corporations, such as Levi’s, Revlon and Chanel. All the while, Albert has spent much of his time on personal projects, taking stunning photographs around the globe, from Marrakech to Las Vegas to the Orkneys. His work has been featured in museums and galleries worldwide, and the photo industry bible, Photo District News, named Albert one of the 20 most influential photographers of all time. Born and raised in Scotland, Albert studied at the Royal College of Art in London before moving to the U.S. in 1970. His awards include a Grammy (1975), ANDY (1983) and Lucie (2006). For this image, Albert told Rollingstone.com "they wanted a strong, direct cover—maybe not eye contact—something that's strong looking and very, very simple. Slightly heroic, you know?”</div></div> ©Timothy White Malibu, CA 1991 I was shooting Bruce for the day in Malibu at the Warner Bros. ranch up in the hills. We were doing a number of locations, and some of the shots involved him with his guitar. Well... it's that famous Fender. At one point I stepped in to move its position a bit, and felt like I got a side look from Bruce as I went to touch it. Then I saw it. The gouged-out space where it had been played against his belt buckle for so many years. I revere that guitar almost as much as I do Bruce. It kind of gave me the chills. I just moved in as he played and focused on his hand. It's almost like he and that guitar are one. —T.W. http://www.backstreets.com/hungergallery/gallery.html#17 da8641a5-f7ae-4e8b-b2bb-001573769da0 http://www.backstreets.com/hungergallery/gallery_files/Media/Timothy_White/thumb.jpg http://www.backstreets.com/hungergallery/gallery_files/Media/Timothy_White/micro.jpg <div style="padding: 0px; " class="style_External_168_16"><div class="style">©Timothy White Malibu, CA 1991 I was shooting Bruce for the day in Malibu at the Warner Bros. ranch up in the hills.  We were doing a number of locations, and some of the shots involved him with his guitar.  Well... it's that famous Fender. At one point I stepped in to move its position a bit, and felt like I got a side look from Bruce as I went to touch it. Then I saw it. The gouged-out space where it had been played against his belt buckle for so many years. I revere that guitar almost as much as I do Bruce. It kind of gave me the chills. I just moved in as he played and focused on his hand. It's almost like he and that guitar are one. —T.W.</div></div>