Photographer NEIL BRIDGE

I was scheduled to photograph Mr Alsop at his practice one Monday afternoon, but when I called his staff on shoot day to enquire about technical matters, I discovered that Will had forgotten our appointment and inadvertently flown to Ireland. Cue mass panic at the Journal, and a hurried flight back to London for Will. It reached 8pm before he returned to Alsop HQ, his staff had long gone home and the office was a cold dark shell. Will led us to the basement, whereupon he immediately began smoking, drinking, and painting. This photograph ran as the cover of the following week’s AJ. I’m really glad he accidentally flew to Ireland.

Upon entering Fiona's London studio, I couldn't help but notice that there was an actual fighter jet wing piercing the entire room, coming up through the floor and disappearing into the roof. It was, alas, slightly too large to include in my shot so I'm afraid you'll have to be content with the highly-polished tail fin in the corner. An astonishing shrine to combat aircraft, reflected in Ms Banner's exhaustive collection of JANE'S military hardware annuals.

As master auctioneer of Contemporary Art, Mr Meyer is a very busy man. My assistant Oliver and I had barely any time to pre-light these two shots, and were exceptionally careful as we did so. It was a privilege to use flash lighting around near-priceless paintings, to the great surprise of Sotheby's visitors that day. The biggest surprise was saved for Oliver though, when the Curator told him the auction estimate of the Francis Bacon triptych that he'd been swinging our lighting stands so close to.

Bored of classic car magazines looking like auction catalogues, I set out to redefine (or at least vaguely upset) the notion of how old cars should be looked at. To see a multi-million-dollar Ferrari in such a state of undress was not exactly normal in 2007. These photographs are essentially what opened the Ferrari factory doors for me.

Mr Martin has quite the vehicle collection, ranging from rare old motorcycles right through to Formula 1 and historic rally cars. On this day though, a beautiful old Berlinetta took centre stage. A man cannot fail to look good in a Ferrari 275.

In 2009 I was summoned to Maranello for what would be one of the toughest weeks of my career. Ten-hour days shooting absolutely every last detail of Ferrari's 458 production line, from the casting of aluminium V8 engine blocks to the white-gloved installation of the yellow Scuderia wing shields. On day one I was laughed out of the break room for requesting a cappuccino at 2pm - apparently only children have milky drinks after breakfast.

I owe Mr Antonio Ghini a great debt of gratitude for the orchestration of this photograph. Stepping in to (literally) show the mechanics how it was done, our Editor-in-Chief flung F1 car wheels left and right. Over in mere moments, this remains one of the most frenetic scenes of my career.

Moritz remains one of the most insanely talented people I've ever met. Kinga was my only portrait subject who ever insisted on hiding her eyes behind her hair.

Researching this Art collective, I found myself absolutely fascinated by their projects 'Can You See Me Now?' and 'Ulrike And Eamon Compliant'. The depth of thought and research within what they do continues to amaze me. After you're done here, I suggest you look them up.

Cuore di Maranello for The Official Ferrari Magazine.

People like to make jokes about how carelessly-made Italian cars once were. Luckily for Ferrari, the cars they furiously flung together on Friday afternoons are, today, lovingly restored to the highest of standards.

The guy in the green jersey (Tom Crowe) is not only capable of riding non-handed fixed-gear on rollers, he'll do bunny hops whilst he's at it.

Donna Wilson for Heal's.

'Bite' Ducati race bike by Death Spray Custom.

The looks I got on this test day were priceless. My handheld camera+flash rig was enormous, I had a huge battery pack slung across my back and a load of smart-arsed mechanics kindly telling me I didn't need a flash because it was so sunny.

James Martin's Ferrari 275 Competizione for The Official Ferrari Magazine.

Honoured to be the first photographer allowed to point a camera anywhere near Mr Newey's famed drawing board, I thoroughly enjoyed scurrying about on my hands and knees whilst an outspoken design critic talked motorsport with one of Formula 1's technical masterminds. It was only when editing the shoot that I noticed they were wearing almost identical shirts. In that moment, Mr Bayley's fate was sealed in black and white.