Bowie’s rise to rock stardom came at a price. By the time he concluded his first US tour, in December 1972, it was becoming unclear where the real David Bowie ended and the fictional Ziggy Stardust began. Aladdin Sane, the character that Bowie would name his next album after, was both a new persona and an extension of Ziggy. When Bowie met with late photographer Brian Duffy at his studio in London’s Primrose Hill area in early 1973, to conduct a photo shoot for the album cover, his most iconic look was in full effect. While the red mullet was the next stage in Bowie’s/Ziggy’s evolution, the lightning bolt was a new addition, flashing across Bowie’s face as an overt symbol of the split personality that he felt his characters had begun to foster in him. A series of 16 contacts have survived from the session, showing variations on the portrait that was ultimately used: a shot that is simultaneously mysterious and tender, right down to the teardrop that sits on Bowie’s clavicle.