Photographer Glen Luchford spent the nineties shooting for magazines such as Vogue, The Face and Arena. His classic and observant sense of narrative became one of the signature aesthetics of the era; part Robert Doisneau, part George Brassai, his images are clean and clear, dramatic in their understatement and nostalgically realistic about the impact of modernity upon latterday living.
His new book Damaged Negatives is, on the one hand, his own idiosyncratic take on the work he did during this time. On the other hand though, it is an Act of God. “I put the images in storage for two weeks,” Luchford explains, “which turned into two months. The entire storage unit flooded and the owner didn’t tell anyone, so by the time I arrived, the images were just mostly gone or in a state of high deterioration. There were flies and mould everywhere. On a sub-conscious level, you have to ask why I would ever have put them in such a ridiculous place,” he continues, “considering one print just sold for £25,000, and I lost thousands and thousands of negatives.”