Layers and juxtapositions, cool, collected, comic and cagey. Ralph Koltai, set designer for the Royal Shakespeare Company, sits back in repose on a shag carpet with three companions, a cardboard cutout cheetah, a little lioness hand-puppet, and a famously photographed sex kitten.

Keith Simpson, preeminent forensic scientist, seen three times (Mick Jagger being the only other subject, or Queen’s subject, to appear more frequently in tactile|mercantile); Simpson in the pose that originally appeared on the cover of the Telegraph Sunday Magazine and was later acquired by the National Portrait Gallery, London, with some of the accouterments of his trade: a chemistry bottle, a large hand-blade, and a skull under glass. Next, in his drawing-room attended to by a woman in a coral coloured coat; and at play in the yard riding a child’s bicycle with a granddaughter in chase.

Following a long day photographing Dr. Simpson at work, taking less palatable images that did not make the cut for this exhibit, Aronson was asked to attend another autopsy, that of The Who’s drummer Keith Moon, which she declined. The Telegraph Sunday Magazine included a shot of Simpson at home carving a roast.

Relaxed time for Robert Stephens, also photographed for the Telegraph Sunday Magazine, resulted in his more than ordinary drunkenness; Aronson had to inform the Royal Shakespeare Company that he was not likely to make the evening’s performance. And he didn’t. It might well be the morning-after that he was photographed somewhat red-faced against a red painted brick wall looking like a street tough save for the pink Oxford (this likeness is also in the National Portrait Gallery).

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