In Conversation with Greg Brennan

For over three decades, Greg Brennan has been a quiet force behind some of the most iconic images in modern celebrity culture. From candid portraits of Kate Moss to more intimate moments with the Queen, Brennan’s lens has captured the fleeting, unguarded moments that define an era. Entirely self-taught and fiercely dedicated, he rose from a chance encounter in London to become one of the most respected photographers in the business–now represented by the prestigious Iconic Images gallery. As he prepares to release a book chronicling 35 years of his work, Brennan reflects on the grit, instinct, and passion that built his career. In this rare interview, he shares the stories behind his most famous shots, the changing landscape of press photography, and why the analogue generation might just be the last great wave of photographic art.

You’ve spent over three decades capturing the world’s most famous faces. What first drew you to press photography, and how has your approach evolved over the years?

Jack Nicholson by Greg Brennan

It started with a chance encounter. At 18, fresh off the plane from California, I met a guy at a house party who said he photographed the Royal Family. I tagged along out of curiosity and that night, we saw the Queen, Prince Philip, and Princess Diana. I was stunned. From that moment, I knew this was what I wanted to do. I bought a camera the next day, and that spontaneous decision shaped the next three decades of my life.

How did the move from California to London shape your photographic eye?

My dad’s old travel photos first caught my interest–snapped from car windows, mostly landscapes. I always said I’d take better ones. When I moved to London, he gave me the money for my first proper camera. I taught myself the rest. For five years I didn’t sell a single photo, I just kept honing my skills. Back then, film was expensive with it being £5-8 per roll, and 36 shots. I processed everything myself, often finishing in the early hours of the morning. It was relentless, but I learned discipline, instinct, and technique. The switch to digital changed the game, but that analogue era trained my eye in ways nothing else could.

Tell us about the Kate Moss photo outside the Donmar Warehouse–why do you think it resonated so widely?

Kate Moss by Greg Brennan

It was her 33rd birthday. A mob of photographers waited out front, so I left with no chance of getting a clean shot. Walking back to my car, I passed the fire exit. There she was, sitting on the stairs, smoking. The tabloids claimed she fell over her stairs and tripped over her dress but it wasn’t true. She was simply waiting for her car to arrive. There’s something raw and rock-and-roll about the image–it has been called a mix of Janis Joplin and a ballerina. Some say she looks like a fallen angel. It’s one of my most iconic images and one of the most stolen. But if it hadn’t been shared so widely, it wouldn’t have had the same impact. Sometimes that exposure is worth more than any fee.

What can readers expect from your upcoming book?

It’s not an autobiography but more of a visual record of 35 years behind the lens. Five chapters, each anchored by five key images with detailed backstories. Most celebrity books just list captions. I wanted the stories. If it’s as well received as I think it will be, there’ll be a second volume. While much of it is digital, the strongest material is still on film. I’ve got crates of negatives with my best work in them. 

How do you balance getting ‘the shot’ with respecting your subject’s privacy?

Timing is everything. I don’t do long-lens shots from a bush. I prefer events or places where everyone knows the cameras are there. But I skip the red carpet; 500 people get that photo. I shoot the moments in between–the steps from the car door to the carpet. I find those moments to be more candid and you end up being the only one with that picture…exclusivity is key. The trick in press photography is speed, timing, precision and getting more than one angle. I’ve come to the point in my career where I can anticipate the shot before it even happens. 

The Queen by Greg Brennan

Who commissions you, and how do you make a career in such a competitive field? 

London’s a hub of constant activity, and the network here is tight with photographers, cab drivers, newspaper contacts, doormen and even Big Issue sellers. Information flows. I joined Iconic Images during the pandemic which was an honour considering they only represent 40 photographers globally. I’ve never found the work irregular as there’s always something happening in the city.

How do you cope with the demands of such a high-adrenaline career?

Honestly, I love it. I was just a kid with a camera living my dream. Sure, there’s a lot of waiting but then there’s a burst of  pure adrenaline. I could have had a 9-5 job, but why would I? I was meeting my heroes and having the time of my life.

What stands out from documenting Notting Hill for six months in 1998?

Watching the four seasons scene on Portobello Road. They laid fake snow, used sprinklers for rain, and threw plastic leaves in front of a fan for autumn. I sat on a bench and watched the whole transformation. That moment showed me how movie magic really works. It was surreal and it happened right outside of my house.

What is it about your photos that leads celebrities like Lady Gaga and the Queen to personally request their portraits? 

Lady Gaga by Greg Brennan

I think I’ve got the cool factor and experience. Some of my photos haven’t matured yet, but they will. Terry O’Neill didn’t know how iconic his Brigitte Bardot shot would become. I think I do. I capture something different, something people don’t see in the moment. With Kate Moss, they saw ‘wild party girl.’ But the truth is far more complex, and that’s what my photos reveal.

Do you still work today and how do you see press photography evolving?

I still work, but I don’t have to. If someone interesting is out there, I’ll show up. The industry has changed drastically. Newspapers are shrinking. I used to sell to eight or nine papers; now it’s two. Magazines are vanishing. Print might last ten more years maximum. Everything’s going digital. But the best analogue work? That’ll grow more valuable as time goes on. 

Looking back, is there one shot that still moves you?

The Queen. I waited twelve years to get that moment. That one still gives me chills. 

Greg Brennan’s photography can be found and purchased in person at the Iconic Images Gallery or online.