The Fuze.com's interview with legendary photographer Fin Costello has been posted at this location. Costello has been working in the biz for nearly 35 years and his work has appeared in every major rock magazine, including Creem, Circus, Classic Rock and Rolling Stone. Here's an excerpt from the interview where Costello is talking about the shoots for OZZY OSBOURNE's Blizzard Of Ozz (1981), Diary Of A Madman (1981) and Bark At The Moon (1983) album covers:

"The first album was kind of a shot in the dark, because his career was in the doldrums. Sharon’s (Osbourne) father was behind it, Don Arden. It was his label, Jet, which was affiliated through CBS. And it was more successful than they expected. On Diary Of A Madman that’s his son from his first marriage, the little boy dressed up as Ozzy on the cover. It was one of those concept ideas that didn’t quite work out right. By the time it came to Bark At The Moon, Sharon was his partner and she’d also taken over the management. She had tremendous flair. She fought outside the box – put it that way.So they had this idea to do a spoof on the werewolf, and “bark at the moon” was a catch phrase. We were looking for an idea to match the title. Ozzy had this idea that he’d cooked up, probably with Sharon, and we talked a bit about it. The art director at Sony had another idea, where Ozzy would stand there with a wolf-skin, with the head on it, over his head. You know those things from old movies, where the guy had the wolf’s mouth on top of his head?"
"Ozzy just said 'Forget it'. But they put up the money for it. They found the money through Winterland – through Bill Graham – because it was a very expensive shoot to do. Ozzy came over, we just sat in a pub and worked out the ideas. They arrived with Greg Cannom, who did Freddie Krueger and all that.  He had done the makeup in LA – the prosthetics cost a fortune to do, and took him ages. Ozzy went into makeup at six in the morning, and we’d begin shooting at eleven o’clock at night. We shot right through the whole night. It was unbelievable. Without a doubt, it was the most professional job I’ve ever been involved in. Every aspect of it was just a dream to work on. Sharon kept the whole business side of it together for us. She found the money. The money was there when it was supposed to be there. We had about fifteen people working as a crew and they all had to be paid cash at the end of the day. She took care of all of that. I took care of all the photography, the production side of it. And then Ozzy worked with Greg on the makeup. It just went like a dream.  Incredibly hard work, but when we saw the film the next day….There were twenty rolls of film, and when they came back from the lab we had this big long light box and we had it all laid out. Every single roll was absolutely right on the button. I remember the excitement around the studio. Everyone was pushing us out of the way to have a look at the pictures. (laughs) They made a great fuss. It was very exciting, you know.

Was it hard to pick the shot that eventually made the cover?

"Well, the shot is two shots. At Ridge Farm, when they were making the album, I was doing the group shots of the band down at the studio. It’s outside London, a country studio. And quite a famous one – a lot of great people have recorded there. There was a great moon – a big, clear, crisp winter moon with clouds cutting across it. And I think it was Bob Daisley who said 'Oh, look there – bark at the moon!' And everybody started howling. And I just got a camera out, put it on a tripod, and banged off half a dozen frames of the moon. When we got the shot which is on the cover – which is technically, without a doubt, the worst shot of the shoot – it was overexposed and bleachy, but it looks real. We took it to a printer in the lab, and he printed it onto film so we had a twelve-by-twelve transparency with the two pictures on it. He did it in about two hours. We just rushed it over there, we all went to the pub and had a drink and he came back with this piece of film. We just held it up to the light in the window of the pub and thought 'Yeah, we’re home!' It was a good project."

Costello's website can be viewed here.