Anton Corbijn

When they came to me and said they loved my work so much, you know, it was just like, wow.

I think I worked always from the vibe from Holland, where people rejected my photography and wrote letters to some of the artists in Holland that they were not allowed to work with me and all that stuff.

So that stuck with me for many, for decades.

Oh, it's funny because I'm not sure if I know those.

I know the ones he did to Rihanna.

Paolo and me, without realizing that, we use the same method of shooting sometimes.

And that's with a little flashlight in the darkness.

So that's why you get this weird kind of vibe in the pictures.

I started doing that in early 80s and then I left it for a long time and I started again in the 90s.

Late 90s I did quite a lot of it.

I realized later on that Paolo uses the same kind of method.

But he's much better at it than me.

Yeah, you work in total darkness or maybe some little light on the sides or whatever.

And you put your camera on a tripod and you keep it open and you light what you want to see in the picture.

Exposure can be two minutes, you know.

Yeah, and it's, you know, I think it's Greek photography and it means writing with light.

And that's really what you're doing then.

I went to see a Rembrandt exhibition a while back in Holland.

And it was all these, what's the name in English?

The scratch.