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Mario Testino: 'When I photographed Diana, the first thought was, do I want to be the voyeur who respectfully photographs the princess in her tiara, or do I sit her next to me and do her like she is my mate? He doesn’t move his arms as he walks and, thanks to a long overcoat, it looks as if he is not moving his legs either. Over all, the impression he gives is of being a human log floating calmly on a rippling social pond.

As Mario Testino moves through the café, customers and waiters alike step out of his way. His head seems pretty still, too, although this may be related to the black scarf he wears like a neck brace, fussily arranged so that each end is draped over a shoulder. He also has a certain style, as you would expect from the man who helped discover Kate Moss and Gisele, who became the favourite photographer not only of Diana, Princess of Wales, but also Gwyneth Paltrow and Madonna, and who persuaded Sir Elton John to get on all fours for a Vogue shoot, so that Elizabeth Hurley could ride on his back.

Click through to check out pictures from the opening and hear what Testino himself had to say about the new exhibit and his model muses.

Even though he has released several books and been the subject of London's National Portrait Gallery's most successful exhibition to date, he is only just now getting his first US exhibition in an unexpected place: the Museum of Fine Arts in Boston.

Split into two exhibitions, "In Your Face" consists of 122 photographs chosen specifically to showcase the "boldness" in Testino's work, while "British Royal Portraits" features 16 of Testino's favorite images of the Royal Family taken over the years.

followed by the Pontificia Universidad Catolica del Peru and the University of San Diego.

Mario Testino OBE (born on 30 October 1954) is a Peruvian fashion and portrait photographer.

His work has featured internationally in magazines such as Vogue, V Magazine, Vanity Fair and GQ.

He sits down in a favourite corner – this is his local, around the corner from his house in Holland Park – and, as he sips a frothy coffee, he reminisces about the second time he photographed Madonna.

It was in 1997, for the cover of her album Ray of Light. We’re done.” And I said, “But I don’t have the pictures yet.” She said, “You’re working for me and I say we’re done.” I said, “No, we carry on.” The picture she used on the cover came after that. I thought, I have to push my luck here, so I started keeking her like dis, with my foot.’ He gives me a demonstration, under the table. ” And I was, like, move here, move here,” and suddenly this created an eentimacy.