their second LP was "the beginning of us being actively involved in the Beatles' artwork... the first one where we thought, 'Hey, let's get artistic.'" The group asked Freeman to take inspiration from pictures their friend Astrid Kirchherr had taken in Hamburg between 1960 and 1962, featuring the band members in half-shadow and not smiling. To achieve this result, on 22 August 1963, Freeman photographed them in a dark corridor of the Palace Court Hotel in Bournemouth, where the band were playing a summer residency at the local Gaumont Cinema. To fit the square format of the cover, he put Starr in the bottom right corner, "since he was the last to join the group. He was also the shortest". McCartney described the result as "very moody", adding: "people think he must have worked at [it] forever and ever. But it was an hour. He sat down, took a couple of rolls, and he had it." The original concept was to paint the picture from edge to edge, with no bleeding, title or artist credit – a concept that went against music industry practice and was immediately vetoed by EMI. The first album to carry an edge-to-edge cover was the Rolling Stones' self-titled debut, released five months later. EMI also objected to the fact that the Beatles were not smiling; it was only after George Martin intervened, as head of Parlophone, that the cover portrait was approved. Freeman was paid £75 for his work, which was three times the fee first offered by EMI. Music critic John Harris finds the cover most reminiscent of the photos Kirchherr took in Hamburg of Lennon, Harrison and Stuart Sutcliffe using the "half-lit technique" and says that, together with songs such as "Roll Over Beethoven" and "Money (That's What I Want)", With the Beatles thereby represents "a canny repackaging of their early '60s incarnation: Hamburg shorn of Prellies and leather, and sold to their public as a mixture of accomplished rock 'n' roll and art-house cool". Harris also sees the LP cover as a "watershed" design that encouraged other acts to eschew "the more cartoonish aspects of pop photography" and continued to exert an influence in the 1970s on covers such as those for Lou Reed's Transformer (1972), Patti Smith's Horses (1975) and various punk rock albums. EMI Australia did not receive the cover art, and used different shots of the band in a