“David’s indulgence of his new girlfriend was charming; especially at the more ludicrous moments, such as when Melissa persuaded him to wear a thong, which he wore a couple of times on the beach, affecting indifference to his bandmates’ sniggers. Another comic touch was the presence of hoary old British rockers Status Quo, working in the adjacent studio, always ready to give tuition in pool and table football.”

Excerpt and photo from Starman by Paul Trynka

A David Bowie self-portrait comprising a few scribbles has sold for £2,400 at auction. It was part of a collection of 160 celebrity self-portrait drawings created in the early 1990s and donated to Save The Children. – The Times

Group photo of "The Linguini Incident" cast done for Premiere Magazine in the Fall of 1990, Los Angeles, by Robert Zuckerman with support from Martin Lyon. Ever present and professional, David Bowie "got it" and was fully "with it" as I used the stairs and neon bannister as the set and primary lighting in order to get optimal results quickly, without imposing on production. – Robert Zuckerman

Bowie championed the selfie before it became cool. The picture below was taken on the video shoot for Time Will Crawl which was a minor hit coming in at number 7 on the US Billboard chart. However in 2008, looking back on his career, Bowie named the track as one of his favorites.

Denis remembers: “The picture is a selfie of David and I when he was making a video on top of scaffolding in New York. We had big cameras in those days where you could do selfies in the days before selfies. It took me until 1990 before I could say to David ‘You’re the reason I took up photography’. He said: ‘Yeah, you’ll probably say that to Bono tomorrow night’.” – Source

Bowie liked his Steinbergers – he plays one in the video for Valentine's day and this one (which was signed by the whole band in 1992) has a particularly interesting story which has been retold by Reeves Gabrels. Reeves had asked for a ‘tin’ guitar to use in Tin Machine, but the silver Mylar covering on the neck and frets made it pretty much unplayable.

"I came up with the idea because I wanted a distinctive guitar to use for a video we did for a song called “One Shot,” the first single from the second Tin Machine album… unfortunately, they didn’t really chrome it but covered it with a chrome/silver mylar and put a sealer on the entire guitar, frets included. Every time I bent a note, it scraped some chrome slivers off. Eventually I scraped enough of that off so I could play it.

Reeves continues: “David saw mine and decided he wanted one like it. My guitar tech called the factory in Newburgh to see if they could make another chrome L series. Apparently, they had a guitar they used as a test run for the chroming process. That one had a normal fretboard (it did not have a chromed fretboard) making Bowie’s copycat completely playable while mine was not. The non chromed fretboard is the easiest way to tell them apart. Oh and another thing, his was free…”

Bowie used this Steinberger guitar for the 1991-1992 Tin Machine tour as well as during recording sessions for Tin Machine II. You can also see it in the video for Tin Machine’s “You Belong In Rock And Roll.” – davidbowieautograph

Jake recalls the session: “I shot David Bowie at a house in Fulham in May 1995. I grew up on Bowie. My friend bought all his albums for £2.99 at Our Price records and taped them for me when we were fifteen, and we were stoked to see him live at the Milton Keynes Bowl in the summer of ’83. So when I got the call to shoot him for Tatler with some of his art collection there was no way I was going to miss this opportunity.

Armed with my collection of vinyl, books and posters for him to sign, I headed off to South West London. It was a terraced house and at the top of the stairs I could just see his head as he was sitting reading. I can still picture that moment. I was frozen with fear and anticipation. Bowie came down, we were introduced and he made us a cuppa.

We headed upstairs to shoot him with a couple of paintings and sculptures. When this was done, I asked if I could just grab a couple of portraits in the back garden. It was a lovely sunny day and I got one roll of 35mm and two rolls of 120 film, from which the shot here was taken.

He was disarmingly quiet and open, and explained he couldn’t stay in the bright sun because his pupil was frozen after a fight with his friend as a kid. Like I didn’t know the story back to front already.

What I like about these pictures is that they are totally unpretentious: He’s not styled, is not wearing make up or acting in any way. The simplicity is key. A few months later he was promoting his album “Outside” and had dyed his hair a shocking light brown and was wearing heavy eye make-up. This was just him as he looked every day.” – modernrocksgallery

David Bowie Polaroid by Diego Uchitel taken during a 1991 photo session with Tin Machine in Los Angeles.

The picture is among Uchitel's personal favourites and he had this to say regarding the shoot: “I just remember him saying, ‘What if I put red lipstick on?’ At that moment many people were taking pictures of David Bowie, but not like that.”.

Apparently Bowie was inspired to recreate the look after he saw an otherwise ordinary looking chap in a dark business suit, strolling casually through Lausanne in Switzerland, wearing bright red lipstick. – Source