Adam Elmakis is one of the most recognized names in alternative music photography. For more than a decade, Elmakis has traveled the globe capturing awe-inspiring moments with the biggest names in the modern scene.
Learning from someone like Elmakis must cost a fortune, right? Wrong.
As you can imagine, being a recognized photographer attracts a lot of aspiring professionals. Elmakis has always tried to help those starting out, and now he’s taken it one step further with the above video. He’s also written a blog that further outlines the basic things all aspiring photographers should do to get ahead. Click here to read his work.
We spend so many hours scouring the internet for great reads on the music industry that it’s a little impressive our eyeballs haven’t melted out of heads just yet. Still, every once in a while we stumbled across something that makes all the effort worth it, and this week that honor goes to the following blog from photographer Jarle H. Moe. Enjoy.
THE CONTRACTS
The last couple of weeks, the matter of photo contracts once again has been debated. First came Jason Sheldon’s blog post, calling Taylor Swift out on her hypocrisy when attacking Apple for demanding musicians give away their music for free while doing the exact same thing to concert photographers in her photo contracts. If you’re reading this, you’re probably well aware of that whole ordeal, so there’s no need to get into it further other than to say that I fully support Sheldon’s views.
His post made some waves, the latest being The Washington City Paper refusing to sign Foo Fighters infamous contract. Honorable as it may be, as pointed out by Kevin Bergin, their way of solving the problem, will make matters even worse for concert photographers. Petapixel’s Michael Zhang calls the decision a brewing revolution in the world of concert photography, but, I’m not so sure. Right now, it’s “viral”, so there is an immediate payoff, but, as soon as the story fades, so does the will to make change among the decision makers. After all, this is not the first time we’ve seen an “internet riot” against photo contracts, and yet, they are breeding. Well… except in Norway, but I’ll get back to that.
I, A PHOTOJOURNALIST
At its core, concert photography is two things at once: art and journalism, or rather, photojournalism. Most concert photographers work for some sort of outlet – i.e., they are photojournalists. While that’s not a label all concert photographers embrace (or even know about), they should. I see myself as a photojournalist and fully adhere to the responsibilities tied to that label. When I post photos, they are the truth, or at least as close as I can get to it, strictly following the guidelines of the Ethical Code of Practice for the Norwegian Press in all my editorial work. Nothing is added or removed, nothing is changed for better or worse. My photos are first and foremost journalistic work, and my audiences can trust that I do not deceive them in my photos.
But, I also see myself as an artist, and care just as deeply about my art as any musician about their music. The greatest challenge to concert photography, in my opinion, it to make art of reality. Not just documenting reality, but showing the world the hidden aesthetics in it. In many ways, it’s a lot like street photography. If it’s staged or “photoshopped”, it loses its value. It’s no longer art in reality. Of course, making art for art’s sake (l’art pour l’art) with the tools available to you, isn’t a bad thing, and I know a lot of concert photographers doing just that, but I’m a journalist. To me, the real world is enough. And, if you are working for an outlet of any kind, you should feel the same way. People reading a newspaper, magazine – or even a music blog, are expecting trusting that you show them what the concert was really like, not how good you are at Photoshop. Your readers are expecting the truth.
I, AN ARTIST
The discussion regarding photo contracts, seem to be centered around the idea of the concert photographer as an artist. A photographer, an artist in his own right, should be able to control (and get paid for) his own work. Handing out a contract demanding the photographer to sign away or limit those right, is disrespecting a fellow artist. While I, as an artist, fully support that notion, I believe that journalistic integrity should come first. The problem with the above, is that not all concert photographers care enough about their work (or monetizing upon it) to defend their rights as long as they get to shoot their favorite band. There’s also the problem of some people viewing an artist as somewhat larger than life, where you, as a concert photographer, are lucky to be even in their presence and should adhere to their contracts (rights grab or not) out of sheer honor.
An artist can be manipulated and bullied into giving up his rights. However, if you have any journalistic integrity at all, it doesn’t matter who you are shooting or what artistic aspirations you may or may not have. One of the most important tenants of journalism, is the idea of a free press. That means, as a photojournalist, you can not allow any company, person or artist to decide what you can, or can not capture or publish. Then the press is no longer free, but dictated by external forces. In a free democracy, the public needs to be able to trust that the press acts as a free agent, without any constraints or limitations exerted by external forces.
IT’S ALL ABOUT CONTROL
Artists (and their managements) will always try to control what the press publishes about them, and while I completely understand the want to control an artist’s image, it is not for the artist or anyone else to decide as long as we live in (and want to continue living in) an open, free democracy (hell, in the age of smartphones and great pocket cameras the whole idea of trying to control image to that extent is, honestly, just silly, as photos will be captured anyway – but they will always try). We, as photojournalists, should treat musicians just the same as we would a politician. If a politician openly tried to control the media in the way some musicians are, it would be a scandal, and yet there’s not any real outrage. Sure, the artistic photographers are angry, but that’s about it.
Concert photographers seem to worry most about the rights grab aspect of some contracts (and, to some extent, the limitations on reselling photos to other outlets), and sure, I totally get that. The Taylor Swift photo contract that [re]ignited the discussion this time around, was mainly criticized for being a rights grab contract. And yes, I like so many others, feel that a rights grab contract is disrespecting me as an artist. That said, my main ‘beef’ with photo contracts, isn’t the disrespect of me as a photographer, but rather the attack on my integrity as a photojournalist. The same contract stipulates that photos shot at the concert may only be used once and only until the end of 2015 online. In my opinion, that’s an attack on my integrity – and in extension, the free press.
And, it’s spreading, because of course it is. They always want more control, and will take it if they can. Now, we’re seeing more and more artists putting limitations on how we photograph them, as well. Only shoot the left side of the face, or from the waist up. The newest instance I’ve read about, is artist Lily Wood demanding no photos to be shot in profile or overview (unfortunately I have no link to back this up, as it was discussed on the closed Concert photographers group). The worst contract I’ve come across, was when Crystal Castles played in Bergen a couple of years ago, with a contract demanding photos to be pre-approved by their management before publishing. You give them the finger, and theywill take the hand. Now that right there is a scandal. Yet, nothing went ‘viral’ back then.
With this in mind, it baffles me to see not only concert photographers, but also major newspapers and outlets signing photo contracts. Where is their journalistic integrity? If a politician demanded to be only photographed in a certain way or that photos be removed after a given period of time, it would be unacceptable, so why is it any different for artists?
BUT WHO GETS CONTROL?
Of course, photos also have a historic value, and should be allowed to live on for future generations to see. They are what lives on when the present has passed. They are history. Having anyone try to control what lives on or not in the way many, if not most, contract tries to, gives artists and their managements power over history that they should not have. One of the most important and recognized concert photos of all time where Johnny Cash is flipping off the camera at his Folsom Prison San Quentin concert, imagine if a contract had been signed, and his management for some reason or another, didn’t like what they saw (or didn’t see it at all, but the photo could only be printed once). Imagine what we, and history, would have lost! It is not for you, me, or any one else to decide what will be important to history. Securing free speech (including as photographic documents), is also securing our history and legacy. Censorship should not be accepted regardless of who tries to impose it. You, as a concert photographer photojournalist, should have enough integrity to not let yourself be slave to the despotic whims of an artist or their management. They may deny us getting in, that’s their right, but when they let us in, they may not dictate how we chose to shoot or how we chose to publish.
If more, if not all, concert photographers identified as journalists and with the ethics that follow in their work, photo contracts would be a thing of the past. Signing a photo contract should be unacceptable, not because it’s disrespecting you as an artist, but because it’s a violation of the ethics you follow as a journalist. So stop thinking about yourself primarily as an artist. You are a [photo]journalist. You may create art, but it’s more to it than that. You are a part of the freepress. Encourage new photographers to identify as journalists. Make the journalism be as natural to our profession as the artistry, and heed to the obligations that come with that label.
GET YOURSELF SOME INTEGRITY, IT’S CHEAP!
And you know what? It actually works! The Norwegian press as a whole, has made a joint statement to never sign any contracts put forward by artists or their management pushed forward by concert photographers, as can be read here. In Norway, most concert photographers are, in essence, photojournalists and identify more or less as such. And because of that, we are part of the press. We are not 100 concert photographers, but 7000 journalists. Together we have a powerful voice. We generally do not meet any photo contracts, and the few we do, never gets signed. And because of that, contracts get fewer and fewer. With the press associations and unions behind us, we actually have a powerful voice against such demands, and the contracts get dropped (though, it has to be said that the local promoters have done tremendous work as well in that regard, but without all of the press acting like a collective, they would have no incentive to waiver the contracts). The aforementioned Foo Fighters contract? Guess what: that was not presented to the photographers in Norway. I can’t even remember the last time I “had” to sign a contract. That’s what having some integrity gets you.
Jarle H. Moe is a photographer based in Norway. You can find more of his work and writing on his website and blog. You can also connect with him throughFlickr, Twitter, and Instagram. This article was also published here.
Vans Warped Tour, the summer camp of punk rock. Every year many people get their start shooting shows by covering Warped Tour. I didn’t get my start shooting Warped, but covering it did prepare me for how to handle shooting an all day music festival in the scorching heat without water. It’s an experience unlike any other and sort of a right of passage for music photographers, especially for those in the punk/alternative field. I’ve decided that not doing a tutorial guide on how to shoot warped tour would be irresponsible, so here are some of my tips (I know Todd Owyoung has a great article on the same thing and I purposely haven’t read to avoid any plagiarism).
Gear (Technical and Professional):
You can shoot warped tour with almost any body and any glass. You’re shooting outside and your equipment doesn’t need to be top notch. Afraid of using your kit lens because of its aperture limitations? Bust it out! You’re shooting in daylight!
Remember to bring extra cards, and batteries. It’s an all day event. Sometimes we all need a reminder to bring extra cards and batteries.
Warped tour is an all day event. Make sure you have sunscreen, comfortable sneakers and appropriate clothing. And please wear deodorant, your pits will smell at the end of the day when you’re shooting verticals 😉
Check out smaller bands:
The reason for this is simple – the little bands are the ones that are going to get big next year. Imagine having photos of Katy Perry from that one summer she spent sweating it out with the best punk had to offer on Warped Tour. I wish I did!
Last, but not least, be creative.
If you shoot vigorously like I do, then you can shoot 10+ bands at Warped. Do something different. Yeah that jump shot is great, but the only way to separate warped photos from you and every other person shooting Warped is to be creative and different.
Nick Karp is a professional photographer and freelance music writer. He recently relocated to NYC and dyed his hair bright pink because that is the kind of thing people do in the music business.
We have dedicated a lot of blog space over the last two years to helping make you, the reader, a better music photographer. Those efforts will no doubt continue in the future as we believe the role of education in someone’s life is one that lasts from the cradle to the grave, but today we are turning our focus from the ins and outs of the industry to those who are currently setting the standard for professionalism. There are probably hundreds, if not thousands of photographers covering the world of alternative music right now, and in time we hope to highlight as many of them as we possible can. Right now however, we want to focus on 10 people with unique perspectives on the current music scene that we feel everyone should know and follow online. You can learn from them, or you can just enjoy their work. Either way, please support these hard working people:
At the risk of overstating his current level of influence, Adam Elmakis pretty much sets the bar for photography in the alternative music scene. He has photographed everyone you can think to name, but he’s best known for his work with A Day To Remember, Of Mice & Men, and Pierce The Veil.
Harnessing the power of social media to further her presence and influence like few have been able to accomplish, Ashley Osborn is an innovative photographer with a perspective on life like no other. If anyone works harder than her to make photography their life I have yet to meet them.
Sometimes photographers rise to popularity by capturing dozens upon dozens of artists at every level of stardom, but that is not the case for everyone. Grady has been around the music industry, as well as the modeling world, but he’s probably best known for capturing the rise of rapper G-Eazy from underground clubs to sold out stadiums, both on stage and off. His notoriety rose right along with G’s stardom, and today it’s hard to talk with anyone in photography or music without one of their names coming up.
If you’re a fan of Mayday Parade there is a good chance you have swooned over the talent of photographer Thomas Falcone once or three dozen times over the last few years. Thomas can capture any artist in a way that makes you drop your jaw, but his time on the road with the men of Mayday has allowed him to work with them on an entirely different level. It’s both personal and professional, making you feel as if you’re right next to the band no matter where they happen to be around the globe.
Most the photographers on this list so far have become synonymous with artists who are currently able to headline all over the world. Molly Louise Hudelson works with that level of talent as well, but her best work is done when capturing the artists still trying to cut their teeth in this crazy business of entertainment. If you want to see the artists who will be headlining in one or three years from now, Molly’s work is a good place to start.
Vince Dwyer spends a lot of time on the road with The Word Alive, which offers him unique access to the world of hard work and metal that (lucky for us) he then shares with people around the globe using only his camera. Like others on this list, his talent has grown along with the artists he’s dedicated his life to capturing, and with each new tour it seems he only gets better.
It’s not easy making it as a freelance music photographer in 2015, but Nick Karp has somehow found a way to make it work while also living full time in New York City. His ability to hustle day and night, show to show, is right up there with the hardest working bands in music today. On any given date he may be capturing anywhere from one to ten bands at one or more shows in various corners of the city, and once summer arrives with festivals every other week his schedule only grows more hectic. Nick also has a heart for education, as anyone familiar with this blog has seen through his numerous columns on music photography basics, so really there is no reason for you not to follow his work from this point forward.
We hate not being able to use someone’s real name in a feature like this, but the photographer most commonly referred to as Sedition has chosen to keep his identity a bit harder to come by than most. What we know for certain is that he spends his days driving your favorite bands from show to show, and at night he uses his Canon 70D to capture moments that will make your heart skip a beat. His work with models is pretty incredible as well, and with Warped Tour fast-approaching, you can expect a wealth of new images to be produced in weeks ahead.
You would be hard pressed to find a single person in music, maybe even the planet, with a bad thing to say about Mike Wilson. The world may have a shortage of truly good people, but Mike is a hard working guy who also happens to be incredibly kind and ridiculously underrated. He spent the beginning of 2015 with Cartel, and the work he came back with will make you fall in love with the band even if you know understand why everyone lost their mind over the release of Chroma. His work is that good, and even though he has a few years of experience under his belt it’s clear he’s nowhere near reaching the peak of his abilities. I wouldn’t be the least bit surprised if Mike found himself where Elmakis is at today within five years time, if not sooner.
Originally a name synonymous with PupFresh, Teri Cwiek has become a brand all her own over the last two or three years. She can currently be found touring around in vans with bands on the cusp of taking the scene by storm, and all day everyday she shares scenes from her time on the road through her various social networks. As the average age of our team here at Haulix is around 30, we are not always familiar with the artists Teri is working with, but that doesn’t really matter when you see the beautiful images she is able to produce. Like the hustle shown by Nick Karp, Teri has the kind of driven, business-oriented mindset to actually make her passion her life, and we encourage everyone to seek out her work as soon as they are able.
There is something about the way Matty Vogel captures live performances, especially those of rapper Hoodie Allen, that defies explanation. Regardless of the place where the photo was taken, Vogel finds a way to make every concert photo look as if it captures a once-in-a-lifetime moment. His behind-the-scenes work is no different, offering intimate access to some of the biggest names in music today. He’s a favorite of our entire staff, and we cannot wait to see what he produces while on tour with Wiz Khalifa, Fall Out Boy, and Hoodie Allen all summer long.
Meghan Trainor may have made a mint with her platinum-selling hit “All About That Bass,” but it’s the singer’s approach to working with photographers that has the industry talking about her latest tour.
Recently, a scan of Trainor’s official photo/video release was uploaded to the internet. These forms are common in music, as they outline what photographers can and cannot do while shooting a performance, as well as how said photos may be used down the line. You can view the release in question below:
There are three different ‘terms’ that each photographer must first agree to before being allowed to photographer Meghan Trainor. The first is a basic boiler-plate message that explains how the photographer shooting the show is the responsibility of the publication which assigned them to the event. This is one of the most common terms found on forms like this, and so far no one has questioned its inclusion in this release. The second and third terms however, are another story altogether.
Starting with term #2, all photographers hoping to photograph Meghan Trainor must provide a copies of their work to her label, Atom Records, upon request. By doing so, photographers also must agree to relinquish all rights to their work, which is a fancy way of saying you must give all of your work to Meghan Trainor and her team without compensation. Furthermore, Atom Records and Meghan Trainor will now have the right to use your work, without crediting you, however they see fit.
Term #3 further restricts photographers by not only relinquishing their rights as content creators, but by banning the use of their work on any site or article other than the one which they were assigned to create. So if you were hired by Billboard to photograph Meghan Trainor for a concert review, then the only place your work is allowed to appear is in that review. Any additional use, even for personal portfolios, must be approved by Trainor and her label in advance.
If you were to ask someone working with Trainor to explain why the place so many restrictions on photographers, they would probably respond by telling you something about how they hope to protect and otherwise shape Trainor’s public image. By not allowing photographers to post their work wherever they please, the team behind Meghan Trainor believes they will be able to better control the conversation around her and her music. This may be true, but it also stifles creativity and turns the art of photography into something commercial that is being created solely to promote a new talent. That isn’t what photography is supposed to be about, even in the world of music journalism, and those with enough experience to know better are the ones who make sure their concerns over release forms like this are known.
I’m not saying you shouldn’t photograph Meghan Trainor. If you’re on assignment you should definitely do the work you agreed to, especially if you’re getting paid. All I’m saying is that you need to be conscious of the forms you’re asked to sign and what the terms being agreed to will mean for your creation. You may take the best photograph of your life while watching Trainor perform, but other than placing that photo at the top of your assigned piece it is likely it will never be used elsewhere. If it is, the chances of you actually being given credit for your work are about 100 to 1. I want to believe Trainor would be kind to the photographers who make her look good, but whether or not her team believes there is any reason to do so is another conversation altogether.
The lesson here is this: Always read release forms before you sign them. If something rubs you the wrong way, or if you have any questions about certain stipulations, ASK QUESTIONS. Don’t sign anything you don’t understand and don’t work just so that others can use your art without giving you credit or compensation. There are a million other artists in the world, and most of them would love to have you photograph their next show. Heck, they might even let you keep your work.
Our friends at SonicBids recently ran this blog and we could not resist the urge to share it with all of you. Enjoy.
For years now, the internet has been littered with lists and websites devoted to horrible album covers and band press shots. Sure, these lists and articles are good, harmless fun and indirectly keep alive the names of certain leather- and spandex-clad metal and hard rock headliners of yesteryear (like Manowar above), as well as well-intentioned gospel artists. But who really wants their lasting legacy to be a meme? Read on to find out how bands in the digital age can have fun with press shots without setting themselves up as an eternal internet punchline.
Out-of-this-world imagery
Bands of all sorts, specifically metal and psychedelic acts, have music that would suit press shots set in another place, time, or dimension. But just because the music paints a picture of the band in such a scenario doesn’t mean a literal image of band members in a fictitious situation is a good idea. Revisiting Manowar (above), one of the better bands to make this list, the image above takes numerous shameful ‘80s metal tropes and applies them to a horde of barbarians, which in 2015 looks more like a legit-looking metal musician (far right) paired with three failed professional wrestling wannabes.
How to pull it off: Stoner metal act Sleep (above) has as good a live show as you’ll find, and this won’t be overshadowed years later by a questionable press shot. Though their music is seriously good, the trio is lighthearted enough to cast themselves here as alternate-reality Carl Sagan. Not only is this funny and eye-catching, it should also age well. After all, while no one today copies the aesthetics of early ’80s barbarian metal, the future is likely to be filled with college professor wardrobes that date back to the halcyon days of horrid metal press shots. So by all means, play characters in your press shot, but avoid cliches and outfits with little to no shelf life.
Tender, shared moments
Nothing tugs at the ole heartstrings more than images of musical collaborators enjoying each others’ company. This type of press shot can be fun and effective, a permanent public display of affection that gives fans an idea of the groups’ personalities. But like any other type of staged photograph, there’s hardly a thin line between an absurd, self-grandiose shot and something charming and endearing.
With all due respect to the deceased, Milli Vanilli (above) would likely be a punchline in the 21st century even without the lip-synching scandal that destroyed their careers. Based on this shameless display of beefcake, there was at least one telltale sign that the duo was nothing more than glorified underwear models before they were shamed into forfeiting the 1990 Grammy for Best New Artist.
Chastity Belt (Photo by Angel Ceballos)
How to pull it off: This image of Seattle’s Chastity Belt (above) captures how a lighthearted photo shoot should be done. If school picture day circa 1991 was run by the kids, perhaps it would have led to group shots like this one. This image gives the impression that the band likes spending time with each other to the point that, if they were still teenagers, they’d each want to attend the others’ high schools. This is a top-notch example of how to draw fans in based on a band’s personality, something that’s more endearing than the pretty faces that fronted the studio creations of yesteryear.
Group shots
Compared to the other options above, the typical group shot is mostly serious and professional, making the band seem more like a grown-up venture. That’s not to say this type of shot cannot be sabotaged by members taking themselves too seriously. On the flip side, a group shot can delve into the realm of parody without painting the artists as jokes.
At risk of piling on internet whipping boys Nickelback (above), there’s something uptight about this image meant to represent a confident, stadium-filling rock act. Perhaps it’s the crossed-arm stance often associated with boredom? Even if a serious photo shoot suits your band, try to look loose with posture that demonstrates confidence.
How to pull it off: Atlanta punks Ganges Phalanges (above) recently shared a good laugh with their supporters by turning the traditional family portrait on its head. It comes as no surprise that the group presents itself in such a cornball manner, as its crowd-pleasing live number is this. In addition to being hilarious, such unguarded lightheartedness shows as much, if not more, confidence as any surly rock star pose.
When it’s time for your band to pose for the camera, keep these newer examples in mind, as they offer a stark contrast to established groups from over the years that, whether intentionally or not, appear to take themselves way too seriously.
Bobby Moore is a freelance writer and historian with an M.A. in public history (University of West Georgia, 2011). He’s got a Dead Milkmen tattoo on his chest, and his three-year-old calico is named after the band Tacocat, so he’s pretty shameless about his music fandom.
Hello, everyone! After an extended break we have returned with the latest installment in our ongoing series aimed at informing aspiring music photographers about the realities of life in the industry. If you missed one of the previous columns, you can catch up using this link. If not, welcome back! We’re happy you stuck around.
This blog exists to promote the future of the music industry, and to do that we need input from people like you and your music-loving friends. If you have any questions about the content in this article, or if you have an artist you would like to see featured on this blog, please contact james@haulix.com and share your thoughts. We can also be found on Twitter and Facebook.
We don’t instantly become good at photography. There’s no magic wand that you waive to enhance your skills. It’s a growing process and we continue to learn everyday to enhance our craft. I did a podcast with James Shotwell where we talked about the first show I ever shot and I admittedly said how awful I truly was. I still back this, but I want to go in a little further on why I was so bad, and what I wish I could have changed.
My gear was too good for my knowledge. I wish I didn’t shoot that show in program (auto). Shooting at f8 at 1/60 makes no sense when outdoors. I regret not knowing the basic fundamentals of photography before going out and shooting. If so, my shots would have been exposed properly, and maybe I wouldn’t hate myself for ruining photos of my favorite band, Against Me!.
The only photos I looked at prior were a few that were in alt press. My favorite image back then was one Jesse DeFlorio took of Geoff Rickly at Warped Tour at Nassau Coloseum, which was my first warped tour I ever attended. Geoff broke his nose on the third song and started gushing blood down his face, resulting in one of the most dynamic warped tour photos I’ve ever seen. I thought everything had to be cropped tight and to the frame. I didn’t vary in anyway. I feel like I barely shot any wide shots; however still I feel like I understood the rule of thirds naturally.
I should have turned around. there was an entire sea of people screaming their heads off to these bands. Bands aren’t the only subject at concerts. Why didn’t I capture them, especially since the venue I shot it at is gone, and it overlooked the beautiful manhatten skyline?
I should have shot raw. I didn’t know any better. Maybe I could have fixed some of these awful mistakes I made, if I shot RAW. Maybe…. Raw isn’t a magic wand to make your photos instantly better, but it certainly can help fix your mistakes.
Something subtle, my watermark. My text based watermark makes me cringe. It’s almost as bad as Comic Sans. Almost.
Lastly, I take photography very seriously. In fact, I take it way too seriously. I’m shooting four shows this week, and I really need to reflect that I’m doing a job that many people would love to do. I’m going to do something I haven’t done in the photo pit tonight since my first show, smile and appreciate my access of being up close to document world class artists performing, as my job.
Nick Karp is a professional photographer and freelance music writer. He recently relocated to NYC and dyed his hair bright pink because that is the kind of thing people do in the music business.
Hey there! Welcome to our blog. We thank you for finding time in you busy schedule to spend a few minutes on our site. The post you’re about to enjoy is the latest installment in our popular podcast series, Inside Music. If you like what you hear, the entire catalog of episodes can be found and enjoyed through iTunes. Subscriptions and reviews are always appreciated.
This site exists to promote the future of the entertainment industry, and to do that we need input from people like you and your entertainment-loving friends. If you have any questions about the content in this article, or if you have an artist you would like to see featured on this blog, please contact james@haulix.com. We can also be found onTwitter and Facebook.
On this episode of INSIDE MUSIC, host James Shotwell chats with professional music photographer Nick Karp. Nick has lead a career driven by his own love for photography, and in this conversation he shares his journey with listeners, as well as his advice on how others can begin their own pursuit of a career in entertainment. It’s a little less personal than our previous episodes, but we think it came out pretty great.
The music you hear in the intro to ‘Inside Music’ this week is “Past Tense” from Sudden Suspension. You can learn more about that song, as well as the album it hails from, on the band’s official website.
You may already know this, but ‘Inside Music’ is now available on iTunes! Click here to subscribe.
For those who listened to the episode: Here is the photo Nick discusses at length ==>
Greetings! You may recall a few entries in this series running around the start of the new year. We love this column and thought we had run every photo we had acquired, but it turns out we missed one! We thought about skipping it, but that felt like it would be a disservice to you and the photographer who was gracious enough to share their work with us.
Here’s the original introduction in case you were unaware of this series before now:
After much thought and debate, we settled on a new concept that we think everyone enjoy. Together with a group of our favorite music photographers, we have compiled a collection of images that showcase some of the best and most intimate moments in music from 2014. The images shared in this series were chosen by the photographers who captured them, and the only guidelines they were given was to choose the one image that meant the most to them. Some included an explanation for their photos, while others did not, but everyone chose images that are sure to linger in your mind for days to come.
Next up: Professional music photographer Connor Feimster.
In June of 2014, I was lucky enough to fly out to Dallas, TX to cover the first annual Pegasus Music Festival. I worked behind the scenes with PMtoday (now Move Orchestra), one of my favorite bands from my high school years that performed their final show under the moniker. The incredibly stacked lineup also included Bad Books, Dustin Kensrue of Thrice, Cold War Kids, Circa Survive, and headliners Brand New.
Anyone who knows close to anything about me will most likely know that Circa Survive and Brand New are two of my three favorite bands of all time (the third being mewithoutYou), so my excitement leading up to the night of the festival was unparalleled for the rest of 2014. My departure flight was the first indicator that my weekend in Texas would be legendary, as I sat one row away from three-fifths of Circa Survive and ultimately chatted it up with them to the point where they offered me a ride to the festival like the gentlemen they really are. The journalist in me played it cool while the fanboy in me exploded.
At the festival, I got to hang out backstage with literally every single band on the bill. Bumping into Jesse Lacey, Andy Hull, Kevin Devine, and Dustin Censure in the hallway together was something I never thought I’d see, let alone something in which I’d be included. I got to have a few quick one-on-one portrait sessions with most of these frontmen while also documenting my time with PMtoday and chatting with them about how much their opus In Medias Res means to me.
The time then came for the festival to get a move on, and I got to go out to the crowd and do my thing at the barricade for each band. It was the coolest thing to be able to shoot and then head backstage to rest. It was like some sort of luxury. By the time I finished shooting Cold War Kids, a realization came over me: Brand New are essentially a “great white shark” in the music photography industry. The band, as “egotistical” or “shallow” as it sounds, does not ever allow photographers present at a show of theirs that isn’t under the category of a festival. I personally have no idea why (it’s the ~mystery~ aspect they have to uphold, I bet), but that didn’t stop me from running out to the front of the stage to prepare myself for easily the most important shoot of my young career.
Brand New’s performance was the stuff of legends. I’m lucky enough to say that I’ve seen them at least five times, as it’s damn near impossible for even the most devoted fans to see them at all, but there was something about this performance that struck a chord with me. It must be the overall experience of the festival, but their energy and lights and setlist were all just outstanding. I made it a duty to not look at my photos until the plane ride home, but once I was in the air, I pulled out my camera, flipped through, and dropped my jaw.
That night, Brand New used strobe lights, which are incredibly hit-or-miss to photographers, as they can catch everything or nothing at all. I was incredibly lucky to grab this shot, featuring all four members of Brand New, with heightened energy, within the light of a strobe. This is something I never, in a million years, would have seen myself getting. It’s the type of photo that literally catches me by surprise every time I see it, because I simply can’t believe that it exists.
Connor Feimster is a professional music photographer who has contributed to a number of popular alternative music blogs. His future is bright, and we believe he will do amazing things in the year ahead. If you enjoy the photo in this post, please make it a point to follow Connor on Twitter. You should also check out his official website, which hosts a ton of stunning live music images.
Greetings! You may recall a few entries in this series running around the start of the new year. We love this column and thought we had run every photo we had acquired, but it turns out we missed one! We thought about skipping it, but that felt like it would be a disservice to you and the photographer who was gracious enough to share their work with us.
Here’s the original introduction in case you were unaware of this series before now:
After much thought and debate, we settled on a new concept that we think everyone enjoy. Together with a group of our favorite music photographers, we have compiled a collection of images that showcase some of the best and most intimate moments in music from 2014. The images shared in this series were chosen by the photographers who captured them, and the only guidelines they were given was to choose the one image that meant the most to them. Some included an explanation for their photos, while others did not, but everyone chose images that are sure to linger in your mind for days to come.
Next up: Professional music photographer Ally Newbold.
While traveling with The World Is A Beautiful Place & I Am No Longer Afraid To Die on a full US tour this winter, we took a detour and went to the Bonneville Salt Flats in Utah. Never in my life have I felt at ease. The location was absolutely breathtaking. We were miles away from the city, miles away from the highways, miles away from neighborhoods. It was just us and the salt. This photograph is a reminder of the bliss I felt at that very moment and that life doesn’t stop for anybody.
Ally Newbold is one of our favorite photographer working today, and if you take a look at her portfolio you will realize she has almost certainly worked with your favorite band. She’s a self made industry professional with talent and kindness to spare. More importantly, she’s one of the greatest minds the alternative scene has to offer at the moment. If you enjoy this photo, please look at her official website and follow Ally on Twitter.
