Ricky Hatton trains for Juan Luis Castillo by Michael Brennan

Las Vegas, 06-14.2007.

Manchester’s Ricky Hatton seen in training in Las Vegas before his 2007 fight against Juan Luis Castillo.  Hatton was the WBA Welterweight boxing champion but dropped a division to enable him to fight against Castillo. The fight went to four rounds when Hatton delivered what is considered to be the perfect body shot which left Castillo floored and unable to recover. Hatton acquired many world championship belts during his career from 1997 to 2012 and is ranked as the best British welterweight of all time.

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    This is Classique, at its longest edge the print will be 35.5 cm long with an overall length of 51cm framed.

    It is printed on Fuji Lustre photographic paper and will have a white mount surround with solid wood frame.

    • 192 £

    This is Forté, at its longest edge the print will be 60cm long with an overall length of 77cm framed.

    It is printed on Fuji Lustre photographic paper and will have a white mount surround with solid wood frame.

    • 372 £

    This is Alu-Forté, at its longest edge the print will be 60cm and floats on the surface of your wall.

    It is printed directly onto aluminium with a super glossy finish and comes with mountings.

    • 372 £

    This is Alu-Grandé, at its longest edge the print will be 90cm and floats above the surface of your wall.

    It is printed directly onto aluminium with a super glossy finish and comes with mountings.

    • 510 £
    51cm X 41.5cm
    51cm X 41.5cm
    51cm X 41.5cm
    51cm X 41.5cm
    77cm longest edge
    77cm longest edge
    77cm longest edge
    77cm longest edge

    At Fleet Street's Finest we sell C-Type prints and Alumini ChromaLuxe. Digital C-Type photographic prints use similar exposure techniques to 'dark room' analogue developing techniques but without the need for a negative.

    Equally the enlarging, focusing and exposure to the paper is managed by a computer using lasers or LEDs rather than a bulb. The following process is still very much the same with the paper being processed in chemical developer, followed by a bleech fix before a wash to remove the processing chemicals.

    A C-Type print very much has its origins in traditional photographic processes but is originated from a digital file rather than a negative. Though, obviously, some of our vintage images are from scans of negatives.

    • 95 £

    At Fleet Street's Finest we sell C-Type prints and Alumini ChromaLuxe. Digital C-Type photographic prints use similar exposure techniques to 'dark room' analogue developing techniques but without the need for a negative.

    Equally the enlarging, focusing and exposure to the paper is managed by a computer using lasers or LEDs rather than a bulb. The following process is still very much the same with the paper being processed in chemical developer, followed by a bleech fix before a wash to remove the processing chemicals.

    A C-Type print very much has its origins in traditional photographic processes but is originated from a digital file rather than a negative. Though, obviously, some of our vintage images are from scans of negatives.

    • 115 £

    At Fleet Street's Finest we sell C-Type prints and Alumini ChromaLuxe. Digital C-Type photographic prints use similar exposure techniques to 'dark room' analogue developing techniques but without the need for a negative.

    Equally the enlarging, focusing and exposure to the paper is managed by a computer using lasers or LEDs rather than a bulb. The following process is still very much the same with the paper being processed in chemical developer, followed by a bleech fix before a wash to remove the processing chemicals.

    A C-Type print very much has its origins in traditional photographic processes but is originated from a digital file rather than a negative. Though, obviously, some of our vintage images are from scans of negatives.

    • 130 £

    At Fleet Street's Finest we sell C-Type prints and Alumini ChromaLuxe. Digital C-Type photographic prints use similar exposure techniques to 'dark room' analogue developing techniques but without the need for a negative.

    Equally the enlarging, focusing and exposure to the paper is managed by a computer using lasers or LEDs rather than a bulb. The following process is still very much the same with the paper being processed in chemical developer, followed by a bleech fix before a wash to remove the processing chemicals.

    A C-Type print very much has its origins in traditional photographic processes but is originated from a digital file rather than a negative. Though, obviously, some of our vintage images are from scans of negatives.

    • 165 £

    (Rest of the World £40)


    (Rest of the World £15)

About Michael Brennan

Michael Brennan was born in Sheffield in the north of England in August 1943. He began his career as a messenger boy, so often the route into newspapers for many aspiring photographers.

The family travelled south to the London suburb of Croydon where he joined the Croydon Times.

Brennan learned what he calls the ‘then well-respected trade of newspaper photography’ after taking a job with South London’s Croydon Times. One of Brennan’s neighbours was George Phillips (see the work of George Phillips on Fleet Streets Finest) a photographer who influenced Michael and who gave him tips on photography.

After six years at The Croydon Times, he moved back to the north and worked as a photographer for The Sunday People and the Daily Herald and later the newly formed Sun newspaper.

Fate played a hand and his big break came for him with the tragic death of Donald Campbell. He was assigned to Coniston Water where Donald Campbell was attempting the world water speed record. His work from that day won Brennan the British News Picture of the year award.

Brennan then took his talents to the Daily Mail newspaper who assigned him to New York where he lived for the next thirty years.

Brennan time was spent taking photos of American notables, and he also accepted photo assignments for magazine such as Sports Illustrated where an assignment led to a series of photos of the boxer Muhammad Ali, one of the pictures taken in 1977 has been called ‘iconic’ and is in the collection of the Smithsonian National Portrait Gallery.

Micheal Brennan is now retired and living in Costa Rica.

About Michael Brennan

Michael Brennan was born in Sheffield in the north of England in August 1943. He began his career as a messenger boy, so often the route into newspapers for many aspiring photographers.

The family travelled south to the London suburb of Croydon where he joined the Croydon Times.

Brennan learned what he calls the ‘then well-respected trade of newspaper photography’ after taking a job with South London’s Croydon Times. One of Brennan’s neighbours was George Phillips (see the work of George Phillips on Fleet Streets Finest) a photographer who influenced Michael and who gave him tips on photography.

After six years at The Croydon Times, he moved back to the north and worked as a photographer for The Sunday People and the Daily Herald and later the newly formed Sun newspaper.

Fate played a hand and his big break came for him with the tragic death of Donald Campbell. He was assigned to Coniston Water where Donald Campbell was attempting the world water speed record. His work from that day won Brennan the British News Picture of the year award.

Brennan then took his talents to the Daily Mail newspaper who assigned him to New York where he lived for the next thirty years.

Brennan time was spent taking photos of American notables, and he also accepted photo assignments for magazine such as Sports Illustrated where an assignment led to a series of photos of the boxer Muhammad Ali, one of the pictures taken in 1977 has been called ‘iconic’ and is in the collection of the Smithsonian National Portrait Gallery.

Micheal Brennan is now retired and living in Costa Rica.