On a brisk morning in 1973, a 14-year-old Dennis Morris made a pivotal choice that would alter the course of his life.

“Bob Marley was set to embark on his inaugural tour of England, and I resolved to photograph him, so I skipped school to head to the venue for his first show in London.

“As he approached me, I asked, ‘Can I take your picture?’ and he replied, ‘Sure man, come on in.'”

During pauses in the soundcheck, Marley engaged the young student in conversation about his experiences in England, while Morris inquired about his upbringing in Jamaica.

“Then he shared details about the tour and invited me to join him. The next morning, I packed a bag like I was going to sports, went to the hotel, and we were off.”

Though the tour was cut short when some band members insisted on returning home at the first snowfall, according to Morris, those weeks would kickstart a career where he would photograph many of the most renowned music icons.

Among these images is a famous shot of Marley taken in the band’s van during that tour, featured in a significant exhibition of Morris’s work currently on display at The Photographers’ Gallery in Soho.

Born in Jamaica in 1960 and moving to London’s East End at the age of five, Morris discovered his passion for photography at the age of nine when he became a choirboy at a local church with a rather eccentric vicar and its own photography club.

“There was a darkroom in the vicarage, and when I saw one of the older boys developing a photograph, I just knew that this was my destined path,” he recounts.

Having captured his first images of Marley in 1973, Morris was again present when the reggae legend returned to London two years later for an iconic performance at the Lyceum Theatre.

“I took some fantastic photos of him because I had already witnessed their performance during that initial tour, so I knew exactly how he moved on stage. I ended up with covers for NME, Melody Maker, and Time Out magazines.”

Morris continued to collaborate with Marley, photographing the artist until his passing in 1981.

“My goal wasn’t to become a music photographer; I aspired to be a war photographer – yet I found myself diverted in such a fulfilling manner,” he reflects.

Nonetheless, Morris managed to capture his interpretation of conflict when he was invited to document the Sex Pistols on tour at the peak of the punk movement in 1977.

“It was an incredibly chaotic environment, with constant threats and attacks whenever they were out in public, and the concerts were wild,” he recalls.

“When I worked with the Pistols, I found my own version of war – it was perfect for me.”

Morris’s portfolio would further expand to include a range of artists, from Patti Smith to Oasis, Goldie to Radiohead, as he traveled worldwide with various acts.

Yet the Londoner insists that he always viewed this work as a means to support his true passion for reportage and documentary, a theme that is prominent in the exhibition.

His early endeavors paved the way for projects like *Growing Up Black*, which explored black culture in 1970s London; *Southall – A Home from Home*, focusing on the Sikh community; and *This Happy Breed*, which examined life in the capital.

“I was chronicling my community and my neighborhood, and then expanding beyond that,” he explains.

“I have a natural ability to connect with people… they see me, and they trust me.”

It is this talent that Morris believes has contributed to his success, whether in documentary filmmaking or the music realm.

“When I photograph musicians, my aim is to peel away their façade to reveal their authentic selves, as they often present a curated image to the world.

“People often tell me, whether it’s regarding Bob Marley or the Sex Pistols, that they feel immersed in the scene with me – it’s more than just a snapshot; it conveys a sense of being part of the moment,” he elaborates.

Morris expresses his immense satisfaction with the responses to the exhibition, which debuted at the Maison Européenne de la Photographie in Paris before moving to The Photographers’ Gallery, where it will conclude later this month.

“Visitors say they’re revisiting their past or their parents’ experiences. With the *Growing Up Black* images, many young people heard stories from their parents about their initial days in England, and they are realizing, ‘Wow, it truly was like that.’

“And in terms of music… they are witnessing candid moments of a band or a movement; it provides insight into the journey it took for them to achieve success.

“I am just incredibly proud of the entire project,” he concludes.