Jim Wileman: 'I met Linder in St Ives the day before the winter storm Hercules was due to hit hard. After shooting in her studio, we moved to Porthmeor Beach, where we lasted about five minutes before heading for shelter. Managed a few nice portraits with Linder's hair flying around' Photograph: Jim Wileman for the Observer
Katherine Rose: 'Shooting Jazz Carlin underwater was a lot of fun. Composing a shot whilst my body was slowly rising to the surface proved a challenge, so I had my assistant hold me underwater while I was shooting. At one point he was standing on my shoulders! I later learned that the professionals use weights' Photograph: Katherine Rose for the Observer
Antonio Olmos: 'In 1985 I decided to become a photographer. I had no idea where photography would take me. I remember going to the Tower Cinema in Fresno, California, to watch the British movie My Beautiful Launderette. I remember being fascinated at how exotic London seemed and I never imagined I would ever live there or photograph famous British writers. He didn't seemed thrilled about being photographed for the millionth time. I told him about my vivid memory of seeing his movie and my amazement now at being at his house. He seemed to warm to me after that' Photograph: Antonio Olmos for the Observer
Sarah Lee: 'It was a tricky shoot as there was very little time. Winterbottom works fast and wasn't delighted with my 'stealing' his entire cast. I had 15 minutes for this setup. Sourcing the lobster had proved surprisingly hard - it didn't help that in jest I'd replied "pinchiclauri" when the producer asked me the Italian for lobster. He believed me and went round all the local fishmongers saying "vorrei un pinchiclauri" and getting blank looks' Photograph: Sarah Lee for the Observer
Sarah Lee: 'In the end Rob and Steve were great. They really played ball and gave me exactly what I was after. Both actors were delighting in each other's company and that spilled over to our shoot. They really liked the Lady and the Tramp idea and even though we'd run out of time for it and they had to run off and shoot a scene for the film, they took five minutes out of their lunch break later in the day to do it in a quick setup' Photograph: Sarah Lee for the Observer
Suki Dhanda: 'I really enjoyed the six shoots. Finding the right location for each was the key element. I wanted to avoid a lineup, to create variety in the project, so I placed them in staggered and sitting positions wherever possible. I was giving a running commentary to make sure I kept everyone's attention and they kept their eyes open!' Photograph: Suki Dhanda for the Observer
Hair and Makeup by Sam Norman Photograph: Suki Dhanda for the Observer
For more of Will Storr's photographs click here Photograph: Will Storr for the Observer
You can see more of Kevin's shoot from Leigh-on-Sea in Essex and check out more top fashion tips here Photograph: Kevin Foord for the Observer
Tracy McVeigh: 'We had gone to meet her in the supermarket's cafe. With its wall of windows looking out on a roundabout, it is not a photographer's dream location. There was a photographer there for the Sun, and he was taking the mickey with time. De Piero had a train to catch and we had 30 minutes each but this bloke wouldn't let up, asking her to pose all around the shop, hat on, hat off, moving people around. After a heated intervention I got a 10-minute interview, leaving Tony about three minutes to get his picture. But he just pointed to a shelf I hadn't noticed and asked her to jump up. She was laughing as she scrambled up and in a minute he had the shot. De Piero caught her train' Photograph: Antonio Olmos for the Observer
Mike McGregor: 'She was lovely and totally easy to work with. She did her own makeup, came up with the location and was game. If only everyone was so willing to collaborate (and so striking!) Photograph: Mike McGregor for the Observer
Suki Dhanda: 'I thought I would try something humorous. I had two shots set up in the hotel room: 1. stepping out of a cupboard, 2. in the bathroom looking into the mirror. His American PR walked in for inspection and said: 'Um, we don't really like him looking too zany, so I don't think this'll work' … Back to the drawing board! That's why we kept it safe and just used the curtains as a backdrop' Photograph: Suki Dhanda for the Observer