MT: As mentioned earlier, you are the photographer of Madonna's first magazine cover ever, hundreds covers came after that for her. But what does it feel to be the photographer of that first cover, "Island" is a part of music history now.

CK: I do not think just on Madonna. Perhaps someday (I have been told) my archives will be or help in some small way some sort of history on many of the people or subjects in my files.

MT: That number of Island is very rare now and collectors from around the world are always looking for a copy.
For those who have never had the chance to see a copy, what kind of magazine was Island and how did they get in touch with you to do the Madonna photo shoot?

CK: Arnold and the staff planned it. And they where very excited about it. And they did plan it around the time of her First record (remember records?) release. They had parties etc... She lived on the next block. She came over to the ‘Apartment’ to pick from my contact sheets. My Daughter Rei-re just asked when she could use the living room and watch TV. Ah kids.

MT: What do you recall of that young and fresh Madonna on the set? did you feel she would have achieved so much in the music business and become such an iconic figure?

CK: Honestly, she was very focused on her idea of HER. But at that time, that day, we just had fun and worked on taking good pics.

MT: How many photos did you take that day? Just a few were published and there must be many outtakes...

CK: Yes and fans can contact me direct for gallery prints, which I sell on my site. But between moving here and there many negatives had gone by the wayside and lost.

MT: Recently a slightly different pose of that photo appeared on the cover of a special number of Black & White Magazine for an interesting article. It was a great treat for fans and magazine collector who don't own the original Island cover.
Did you personally choose that outtake for that cover?

CK: "Hands" are placed a bit different and the balance is better. I also used on the book Goddess (Italian version). It is my personal choice.

MT: Did you shoot the Madonna session in Black and White? From what we know it
requires a whole different lighting right?

CK: I work mostly in B&W. I did shoot some color.

MT: What do you think is the quality you have that makes your photos unique?

CK: Simple is best. Focus on the face / person. Not the cloths or the background. But that is different thinking when I shoot for advertising or products. Simple was my main thing when I taught at the Smithsonian Institute in DC a few years back.

MT: In your years shooting for magazines such as Interview and Esquire you went on photographing other rock and pop stars and actors. Which was the most easy person to work with and the most difficult?

CK: To answer that, who would I end up offending someone? I usually shoot (for my personal shootings) only two or four rolls of film. If one does not get it in the first rolls, they are looking for that exposure called in Japan "Lucky Hit". That's not photography.

In dealing with sitters, I always would rush over to them and try and befriend them... can I get you tea, have seat etc...
Irving Penn told me, "stop that. Let the assistant or editor do that. Stay aloof and make a space between you and the sitter. It leads to a better connection later on the set". It took a few years for me to see what he meant. It is like, 40 can’t tell 20 what 40 is like till 20 becomes 40?!

Never been set off. One day Jim Carroll (for whom I did a record cover and had photographed three or four times), brought Lou Reed to the studio. I was nervous. And why? I don't know why.

MT: When we have a chance to meet photographers that have worked with Madonna in the early stage of her career we like to ask them how would they photograph her today. So what setting, what ideas would you like to try in a ipotetich new Madonna shoot?

CK: I think one of these day she and I might re-create that image again. It would not be the same with another photographer. But note MY black turtle neck has been on a lot of people before and since.

MT: In 1984 you moved from New York to Japan. Why did you take this decision? There are huge differences among the two cultures...

CK: That is a huge Q. And the answer could fill a book. It was time for my Daughter Rei-re to start First grade in Tokyo.

MT: Working in Japan you also focused on local artist. What's the difference between working with American artists and Japanese ones?

CK: In America / NYC, people just come over to my studio. [I can remember Madonna shoot ending late and all of us walking down the back dark stairway to exit the building]. Where as Japan is a rental studio system and the sitter (talent) shows up with managers, make-up etc... It's just their style and it works there. Here I like it when I can say 75% of my portraits are private for my art.
In Japan they use the word "Talent-to" to discribe an actor or musician etc... Which does not mean they are talented in many cases. And that is not to say many people really do have talent. Such as Ryu Murakami, Yoko-o Tadanori, Toshiro Mifune (the real 7th Samurai). I have many stories about Japan. Some good some bad some funny. My world there was a Japanese one and not very Foreigner connected at all. In a word "I love it there". Toki-doki sami-shi, for Japan

MT: You recently went back living in the USA, did you find the country changed since you left for Japan?

CK: WOW! Of course. I was frozen in time (I feel like). Used to be I could go up town, walk in, go to a friends office. Now days you get searched at the front door, cameras in the elevators, reception desk on that floor you get out on... Everyone is excepting this paranoia. Along with moving so fast in the electronic world... Humanism is completely gone. It's very sad. But people are wonderful and I love photographing them.

MT: Mr. Knapp, thanks for sharing your time with us. All the best for everything coming up!

For more info about Curtis Knapp, his biography, his amazing images and prints please visit
www.curtisknapp.com

Madonna portraits by Curtis Knapp, on the cover of Island and Black & White Magazine - all rights reserved.
This interview © 2007 Madonna Tribe.