How does a graphic designer from Yorkshire end up on speed dial for Vanity Fair, Time magazine and Vogue?
How does a guy who carries his equipment in a backpack on his motorbike end up photographing Obama, Clinton and Bush? And how, amid all the trappings of his own success, does he remain so likeable? Alannah Sparks speaks to Nigel Parry and gets the answers. How did your career begin? I always liked to take photographs at lunchtime while I was working as a graphic designer at Faber & Faber. My boss saw some of my pictures and he suggested I go to the Groucho Club, which was a creative hub at the time – this was 1987. From then it was a series of bluffs: the guys at the Groucho thought that if the Faber boss thought I was good, then really I should be given my own exhibition. And when I went back to my boss to tell him that I’d been given an exhibition, he in turn thought I must be brilliant. So overnight, that was how my photographic career began. A week later The Sunday Times called me and I haven’t looked back. Your move from London to New York was a crucial point in your career. How d
