Student Life
The Big Shot: In Conversation with Greg Brennan
For more than three decades, Greg Brennan has made a career out of being just outside the frame. As one of Britain’s longest-standing press photographers, he has captured royalty, world leaders, musicians, actors and cultural icons, from Queen Elizabeth II to Michael Jackson, Kate Moss and the Osbournes. His new book, The Big Shot, brings together over 100 photographs from that career, but it is not simply a parade of famous faces. Told in Brennan’s own words, with a narrative shaped by his son Dylan, the book reveals the patience, instinct and personal memory behind images that often lasted only a fraction of a second.
When I spoke to Brennan, it quickly became clear that The Big Shot is as much about stories as photographs: the myths that attach themselves to celebrity images, the moments that happen away from the red carpet, and the strange experience of a photographer, usually hidden behind the lens, becoming the subject himself.
For Brennan, fame itself has not changed much. After years spent photographing some of the most recognisable people in the world, he speaks about celebrity with the calmness of someone who has long since stopped being starstruck. “Fame is fame”, he says. “I think that the thing that I’ve taken most from it is that they’re just normal people, despite being famous. They’re no different from us, really”.
Still, there are exceptions. The most surreal moment of his career, he tells me, came at three in the morning, when a newspaper picture desk called to ask whether he could work that night. “I said, ‘depends on what it is, it’s 3am’, and they said, ‘Michael Jackson’s going shopping in Harrods, and they want somebody to accompany him’”. Ten minutes later, Brennan was sitting with Jackson in the empty department store, spending two and a half hours with him as he shopped in the middle of the night. “It was the most surreal thing ever”, he says. “I learned a lot about him that night. The picture that the media portrays of him isn’t who the man himself was. He was very, very different”.
That tension between public and private runs throughout The Big Shot. Brennan’s work often captures people at their most recognisable, but he seems more interested in what is behind the performance. Yet in a profession often criticised for its intrusiveness, he is careful about where he draws the line. “An intrusive photographer, for me, is one who takes pictures of people who are unaware, takes pictures sneakily”, he says. “I tend to not partake in that. You’ll notice throughout the book that everybody sees me; everybody knows I’m there”.
His approach, he says, is built on respect. He has photographed concerts, royal events, street scenes and premieres, but insists he has “never had a bad experience with anyone”. Celebrities, he points out, understand the economy of visibility: “We feed into them, they feed into us, and it’s a trade-off. But being respectful is always the best way”.
Respect, in Brennan’s case, also means context. One of the book’s purposes is to correct the stories that have grown around certain images. He shows me a photograph of Kate Moss seated on a staircase, smoking. Over the years, Brennan says, it has often been misunderstood. “I read all sorts of nonsense: that she tripped over her dress, that she fell down the stairs”, he says. “People said that she was drunk, and that it was 3am, and I scratched my head”.
The reality, he explains, was far less scandalous. The photograph was taken at 6pm, before the night had properly begun. Moss was sitting at the back exit of a theatre, smoking a cigarette, waiting for a taxi to take her to her birthday party. “I was home by 7:30”, Brennan says. “She was not drunk in this picture. So I want readers to get the truth”. The word ‘truth’ feels central to the book. Brennan understands that photographs are slippery things. They can be beautiful, iconic, even historic, while still being misread. But for him, the story behind a picture is part of the picture itself.
This becomes clearest when he shows me his portrait of Queen Elizabeth II. The image is called Stamp of Approval, and it took him twelve years. “The reason it took twelve years is because she’s not sitting with me; she’s sitting in a carriage, riding past me”, he says. “And every year we would do it, I’d get four or five frames”.
In 2015, he finally got ‘The One’. “I took four others that day, but they weren’t the same”, he says. The next morning, he printed a small copy, wrote a letter and sent it to Buckingham Palace. To his surprise, they replied. The photograph eventually entered the Royal Photographic Collection. “The Queen loved it”, he says.

It is the kind of story that transforms the image. Without it, the photograph is still striking. With it, it becomes the result of twelve years of patience. “We can look at an image, and it can be misconstrued, it can be interpreted in many different ways”, Brennan says. “But for me, as a photographer and as a photojournalist, the story is just as important as the picture”.
On the surface, The Big Shot is a book about famous people. But by speaking to Greg Brennan, I learned that it is also about the strange intimacy of photographing people the world thinks it already knows. It reveals both a photographer’s view of celebrity, and a life spent watching closely, waiting patiently, and finding the story hidden inside the frame.
The Big Shot will be released on 26 May. Greg and Dylan Brennan will be giving a talk at Blackwell’s on 27 May.
Student Life
May Morning – Cherwell
Smudged mascara and the curling of coffee steam. Small yawns and the shuffling of boots. Tangled hair plaited by the same girl from first-year, a crumbly pastry shared with her, too. Heads resting on shoulders, tired eyes looking skyward for the song that is coming. Fresh, crisp air and butter-yellow sunlight you could reach out and taste. There is excited chatter of stories from the night before, looks shared. A hush falls. May morning. See what the world can do before sunrise.
Student Life
Sunday – Cherwell
That Sunday could arrive first-class,
Wrapped in tissue and stickers with minimalist logo.
Sent anonymously (from a fan?).
It will be a crisp, sunblushed Sunday.
The first in months without rain or
Export tariff.
Sunday, with speechless morning
and an afternoon
of step-counts exceeded.
Inside, there will be boutiques browsed,
with flat whites from
an independent coffeehouse, where we know the owner.
We could unpackage this Sunday
Share it and save the tissue
For Christmas giftwrap.
We might duel over whether
we go to yours for the holiday,
Or mine, across the sea.
We might get workaday Mondays, Milky-white Tuesdays,
dreary Wednesdays, Thursdays with dinner parties,
Two-for-one Fridays, and dancey Saturdays.
It hasn’t quite left the depot
Though,
And you won’t be in to answer the door.
Student Life
Oxford needs a women’s college
Naturally, I loathe to say that Cambridge does anything better than Oxford, but I can’t deny that there is one thing I will always respect them for: Newnham and Murray Edwards (and, up until 2021, Lucy Cavendish).
In the 1970s, mixed colleges were the way forward. They embodied a progressive attitude. One of the main justifications for mixed colleges was to increase the number of female undergraduates at Oxford. As Florence Smith showed, the admission of women to Hertford, Brasenose, Jesus, St Catherine’s, and Wadham was complex – amidst the progressive ideology, a misogynistic and unequal reality remained. Crucially, the biggest consequence of men-only colleges admitting women in 1974 was that, only five years later, former women’s-only colleges St Anne’s and Lady Margaret Hall admitted men. By 2008, there was not a single women’s-only college left in Oxford.
Mixed colleges are a wonderful thing. Having been at an all-girls school for seven years, I don’t think I would have accepted an undergrad offer from a women’s-only college. We can all agree that it is healthy for men and women to socialise, and for women to understand and participate in environments which aren’t exclusively female. However, single-sex spaces, especially for women, and in particular women’s colleges, are important. Research has concluded that girls do better (academically) at single-sex schools. It would, therefore, be unsurprising for this to continue to be the case at a university level. I’m sure many female readers are able to relate to the experience of being spoken over by a male tute partner at least once in their time at university.
Women’s colleges can also, crucially, provide funding to women. Despite women often outperforming men at an undergraduate level, academia in Western nations has a significant gender gap – particularly within STEM – and a significant barrier to academia is funding. Cambridge colleges like Newnham and Murray Edwards provide not only places for women, but also funding, awards, and prizes. For further study in History at Oxford, an MSt will cost you approximately £17,000, whilst a DPhil will cost you around £14,000 annually (roughly £42,000 – £56,000 for the full degree). Women’s colleges help to address this gap.
Crucially, women’s colleges retain their feminist foundations. I believe that my own college (Somerville) is a progressive place, and I’d argue it has retained its values and principles better than any other former women’s college. Yet I have heard plenty of sexist ‘jokes’ in the college bar. Casual sexism is something almost every woman is forced to confront; a women’s-only college would give women a reprieve. Somerville is the only college to have had only female principals – something I was very aware could change when our principal stepped down in 2025. Female principals are often one of the best examples young women have for a woman in a position of clear authority, particularly in an institution like Oxford, which for so long was associated with only masculinity. Whilst I do not advocate for total feminist separatism, I believe that there is real value in women’s-only spaces. Having spoken to women who attended former women’s colleges in Oxford for my undergraduate thesis, the difference in atmosphere is almost palpable. Women’s-only colleges were often described as peaceful, empowering, calm places of learning and guidance. I love my college, and indeed I love Oxford, but I think that that atmosphere has faded.
When Somerville went mixed (amongst great protest from students), former Principals Catherine Hughes and Daphne Park justified the change by arguing that they had always taught women to be feminists; now they were doing the same for men. If that was the goal, they failed. Men who identify as feminists, and men who fight for women’s rights exist within Oxford, as they do everywhere, but this is not because of any college environment. Women’s colleges were once a place in which women could learn to take on a male-dominated environment; though various environments have remained male-dominated, the safe space for women created by these colleges, a space in which women could exploit every and any opportunity, has been lost.
Women’s colleges don’t appeal to everyone. When the first five colleges went mixed, they admitted 100 women. How many more applied? There was a real demand for a mixed-sex environment – rightfully so. There are real advantages to coeducation – and also to cohabitation between the sexes. There were plenty of women at LMH who were delighted about the arrival of men, and many went on to marry the men they met at college. But others missed out. There are plenty of reasons women might need – not just want – a women’s-only space. I know plenty of women who chose to attend London universities – or not attend university at all – because London universities would allow them to live at home while studying. Some women also preferred this because they did not want to live in mixed dorms with men on campus, due to their religious beliefs. Colleges in Oxford do try to be accommodating for the most part, but a mixed college will never be as good at providing spatial separation as a women’s college.
Fundamentally, it’s not really about whether mixed or single sex colleges are better. It’s about having the ability to choose. Women applying to Cambridge can choose. Women applying to Oxford can’t. Perhaps instead of a new graduate college every five years, Oxford could reintroduce a women’s college. One women’s college would not do the University any harm, but it would be of colossal benefit to its students.
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