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Ed Sheeran
Memories We Made
Christie Goodwin, John Sheeran
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- 224 pages
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eBook - ePub
Ed Sheeran
Memories We Made
Christie Goodwin, John Sheeran
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Photographs selected by Christie Goodwin and Ed's father, John Sheeran
When I first met Ed Sheeran he was unknown and unsignedâjust a young busker trying to make it big. But I could see something special in Ed. I agreed to photograph him for free to help him on his way to the top.
That was the beginning of a ten-year collaboration, with the two of us crossing paths as Ed became one of the biggest stars on the planetâa story told here, through my camera.
Including images and stories I'm sharing for the first time, with additional captions by Ed's father, John, this is an up-close and intimate view of Ed Sheeran.
Christie Goodwin
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Sous-sujet
Music BiographiesWembley Stadium
â LONDON, 9 JULY 2015 â
Wembley Rehearsals
I was 14 when I got my very first camera, back in the late 1970s, a Carena 35mm SLR. My daddy bought me this camera because I used to run off with his camera, which he didnât like very much. He was a captain-at-sea, and often I joined him on his round-the-world voyages.
I remember how with my very first roll of film I shot some seagulls that flocked around my dadâs ship. As soon I had snapped up the 24 frames on the film, I was impatient to have it developed and see if anything good had come out of it. I still remember the moment I opened the pouch, and the first picture in the pile was a close-up of this majestic wide-winged seagull flying dead centre of my frame. When you looked at it, it made you feel as if it was going to fly right into you. I remember staring at the pictureâ in awe that I had captured that one-fifteenth of a second in time of a seagullâs flight. And that very first picture from that very first film roll is still the reason why I am taking pictures today. To stop time and grasp that one still moment forever â to admire, remember and reminisce.
Fast forward more than 40 years. Many of the jobs I get are last minute. Nobody hires the photographer first. I knew I wanted to be at Wembley with Ed, and I had a gut feeling the call would come. I had several shoots already lined up, but my manager had the same gut feeling and had kept the day of rehearsals and the day of the first show off the books just in case we got the call. And the call came, just two days before Edâs groundbreaking and record-breaking three nights at Wembley Stadium. Edâs manager Stuart Camp basically said I would be responsible for shooting everything, and for delivering photos to his label and the media. Stuart and Ed trusted me to get on with it â it was one thing less for them to worry about.
Disappointingly, I wasnât available the other two nights, so I really had to get it right the first time. There would be no second chances. As you can imagine, the thought of being able to record hundreds of moments of what would probably be the defining highlight in Edâs career was both a thrill and an honour.
On the day of the rehearsals we arrived quite early at Wembley Stadium, and as soon as I had walked onto the field, covered in huge metal sheets, it hit me how big this event was going to be. There were crew busy everywhere, finishing the work on the stage, pulling up the lighting rigs, dragging around sound monitors. Forklifts were scurrying over the field, vans kept driving in and out. It was an overwhelming sight. I stood there in the middle of it all with my two cameras, which all of a sudden seemed incredibly tiny, just like me. I was in awe and I couldnât help but feel intimidated by it all. This was it. The next day, on Friday night, Wembley Stadium was going to be packed with 90,000 people to watch one man with a guitar and a loop pedal board single-handedly entertain the crowd for two hours. How amazing was that?
We ran into Mark and Stuart, who explained to us what was happening that day and where I would be shooting from. The beauty was that I pretty much had complete freedom and was allowed to shoot from pretty much anywhere â as long as I got the shots. It was music to my ears.
Ed arrived soon after and walked over the field to look up at the majestic stage â his stage. He turned to us and came over and said hello. We hugged. I asked him if he felt nervous, and he just smiled and said, âNot at all . . . yet.â I thought he was awfully brave, as I felt nervous and I wasnât the one who had to entertain such a large crowd the following day. I could hide behind my cameras.
I never take pictures of myself with the artist I work for. The artist is the client and Iâm the photographer. Do you take selfies with your doctor when you go for a check-up? Exactly! But that day Patrick insisted he take a shot of me and Ed together to document the moment. I reluctantly obliged. Ed then walked around to the back of the stage and walked up the ramp, and I followed him like a little puppy dog. Trevor, Edâs guitar tech, came to hand him his guitar and together they went over a couple of details. Trevor remained by Edâs side while Ed hit his first chords. The sound check with Ed was the ideal time for me to shoot some clean shots on that magnificent stage in that impressive stadium in broad daylight.