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.
The best camera you have is the one on you. For years I’ve thought that saying was the biggest cliche in the history of photography. I’ve debated and fought this countless times. My iPhone isn’t nearly as good as the guy with a Canon 5D MKIII. I’d even take a Rebel series camera of my that. I’m here to say that I was wrong.
On December 30th, I was privileged enough to see Patti Smith in concert at Webster Hall. I tried to apply for press countless times for the show, but was met with rejection each time. Patti Smith does not allow photographers; something that I think is very hypocritical as Patti Smith is a photographer herself and even had a relationship with Robert Mapplethorpe, an incredible photographer.
The day prior, Patti Smith also performed at Webster Hall, and a had surprise opener in Michael Stipe of R.E.M. It was his first public performance in years. With the idea that he would perform again the next day, I immediately looked up the guidelines for the venue and found out they did not have a camera policy, so I brought in a Fuji mirrorless camera, a camera which most would not even fathom calling optimal gear for a show. I wasn’t shooting for anyone, but just myself because of my love for R.E.M. Don’t get me wrong, I got the ticket for Patti Smith, but I LOVE R.E.M.
I got to the venue early and was about 6 rows back. I snapped less than 150 shots the entire show and thought nothing of it. I had a few shots I liked, but nothing that I would even consider my best work. Just shots to say, “Hey, I saw Michael Stipe and Patti Smith!”
I posted one photo on a message board and got an email later that night from Rolling Stone Magazine asking for images from the show. Why would they want a shot from a little Fuji. I sent them 15 of my best shots of the show and they bought the usage for them. What? Why? … I didn’t even use my gear.
Maybe it’s because I’m thick skulled, but I couldn’t imagine not published anywhere without my pro-gear. Maybe I’m spoiled in that thought, but regardless if a magazine like Rolling Stone took a photo that wasn’t on quality equipment then anyone really would. This was a point and shoot camera after all.
In the past, I’ve been guilty of judging people by equipment. I’m here to say that I was wrong.
Hello again, everyone. We have heard your demand for additional photojournalism posts and we have set to delivering just that. The post you’re about to enjoy was written by Matt Vogel, professional tour photographer and someone whose work has appeared in essentially every music publication people who enjoy alternative music might read. It’s a little longer than some of our other photo columns, but it’s definitely worth your time.
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 on Twitter and Facebook.
Every year the barrier of entry for music photography seems to get lower. This isn’t a bad thing, in fact I think it’s awesome. But what it means is that the number of people working toward becoming music photographers is much higher. It’s not an uncommon thing to be a music photographer these days, and there are thousands upon thousands of us.
Cameras that can perform in low-light are no longer super expensive, starter prime lenses can be bought for cheap, and it’s easier than ever to start working for a publication of any size and get photo passes for shows. Boom! You’re in.
I often hear photographers complain about other photographers who are undercutting their prices or offering to do jobs for free to get the experience. It’s a very real issue but the fact of the matter is that there are people out there willing to pay music photographers. If you’re being undercut for a gig, yeah that sucks, but if you’re working with the people you want to be working for – the ones that value your work – you can meet your personal definition of success and also create work that you will be proud of.
The artists I work for don’t just value having “someone" out there to take photos, they want the right person. Every musician has an artistic vision for how they want their band to be represented, and some have higher standards than others.
There are thousands of aspiring music photographers out there and standing out from the crowd isn’t easy. This isn’t a tell-all blog post for how to become successful but I wanted to share a few things that helped me get to a place where the bands I work for see me as a valuable asset of their team.
Oh, and in this post I’m talking about working directly for bands. That was my goal and that’s who I typically shoot for, so I just want to make that clear!
#1 – MAKE IT ART
It’s photography! If you want to stand out, do it differently. There’s obviously huge subjective arguments as to what makes a good and bad photo and you can spend years at an art school becoming knowledgable about this. But fact of the matter is you should be proud of your photos, and hopefully they will feel like they are uniquely yours. I try to be a really good photographer. I try to get unique angles, catch the most exciting, fun, and memorable moments, and edit in a style that I not only love, but also hopefully makes my images recognizable.
#2 – BE COOL
I know that headline sounds stupid, but I’m serious. When I work for bands, they want someone they can trust and someone they enjoy being around. Photographers are really disposable. There are so many of us! So you have to be cool, and you have to be trustworthy.
Being on tour is like being roommates with someone, times ten. You’re cramped in a van or bus or whatever, and have no personal space and are around each other 24/7. If people don’t enjoy being with you or you don’t click together then nobody is happy. And hey, sometimes personalities don’t mesh and that is nobody’s fault. But building a trusting relationship with artists you work with is so important. If they can’t trust you to be around and capture everything aspect of their lives then neither of you will be happy, and you won’t be producing the best photos you can be.
Your photos can be incredible, and you can sometimes be hired on that alone, but if you are not a solid person to be around then you probably won’t be invited back.
Nearly all of my touring work is from referrals, which is awesome! That means people are vouching for me as a good person to have around and they think I do my job well. That means so much to me. I feel like very few artists are willing to hire people that aren’t vouched for or don’t know personally.
Me napping with Trevor of Our Last Night in Russia
#3 – CREATE AMAZING CONTENT
Ok so you’re cool? Check. Creative? Check. Now get to work! I do my very best to optimize my workflow, know my gear, and try to understand what my artist needs and wants.
UNDERSTAND WHAT GEAR CAN HELP YOU DO YOUR JOB BEST, AND EITHER GET IT OR WORK TOWARDS GETTING IT.
Most people can’t buy all of the gear they’d like right away, but anyone can research and recognize the tools they are working toward getting, and why they are better.
KNOW WHAT TYPES OF PHOTOS DO WELL FOR YOUR ARTIST.
Some artists get incredible feedback from behind the scenes stuff, some get way more engagement from live shots.
GAIN AN UNDERSTANDING ABOUT SOCIAL MEDIA, AND TEACH YOUR ARTISTS.
Your content is a marketing tool. Your photos make shows look fun and exciting, and that in turn sells concert tickets. This is simple but true, and I feel like very few people recognize this fact! Someone commenting on a photo your artist posted saying "WOW THIS LOOKS AMAZING, NOW I’M GONNA BUY TICKETS” is exactly what you want. It can be art and also be an effective marketing tool at the same time – they’re not mutually exclusive.
Also, you have to understand social media. Does your artist want to post 30 photos individually on their Facebook timeline every day? Maybe not the best idea. Teach them to regularly update their Instagrams, use photos to promote ticket sales, etc. A lot of artists are really good at this, but some aren’t. If your artists are using social media right then your value as a photographer and content producer goes through the frickin’ roof. This is so important.
LEARN HOW TO PRODUCE MORE CONTENT, AND DON’T BE AFRAID TO ABANDON IT IF IT FAILS.
However, sometimes only taking photos is the best thing you can do. Some artists don’t benefit that much from tour updates, and they take up a ton of your time as a photographer. Figure out what works and what content is worth your time producing. If you try to do too much then the quality of everything you’re producing is going to go down.
ASK YOUR ARTIST AND THEIR TEAM WHAT THEY NEED.
Talk to your artist, their publicist, their manager, their label, and figure out their needs and wants. You want your artist to be successful and your title may be photographer, but you are really a content producer. So anything relevant to producing content for your artist is something you should be willing to do – and sometimes that means getting extra money for things, which never hurts.
There you have it. These are just a few ways to create value for yourself as a photographer beyond just taking good photos. Hope this post helps!
Matt Vogel is a professional photographer who spends most of his life traveling from city to city with some of the biggest names in alternative music. He also writes about his experiences, which he shares alongside photos on his official website.
Hello, everyone! We have been making a conscious effort to increase the number of interviews and photo-related posts we feature on our blog, and today we’re given the rare opportunity to deliver on both fronts. We told you last week about a young man who has joined us in our efforts to better educate the future photographers of music, and today you will learn his story.
This blog 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 on Twitter and Facebook.
I have lost count of how many times we’ve said something like this in the past, but there is no one living today with the power to do more for your career in music than you. There may have been a time decades ago when someone with a lot of talent and passion would be given an opportunity to prove themselves in the business simply because they were looking to work and willing to complete tasks for very little pay, but those days are long gone. We’re well beyond the saturation point for music industry employment, and the demand for jobs, as well as unpaid roles like internships, is at an all time high. If you want to stand out from the thousands screaming for attention around the globe, you need to take it upon yourself to get your name in work in front of people with the ability to help you along. Then and only then will you begin to climb the numerous rungs on the ladder to music industry success. You’ll probably fall down a time or two as well, but hey – that’s life.
Connor Feimster is one of countless young people currently trying to navigate the often tricky waters of professional music photography. He’s a frequent contributor to Mind Equals Blown and, as we teased in the introduction, he recently came on board to aide us in further educating others interested in music photography. I didn’t know who Connor was a few months back, but he took it upon himself to make an introduction, and then did so a second time for the sole purpose of potentially appearing on this blog. Drive like that may come across as annoying to some, but as a person who still feels they must fight for any semblance of acceptance/relevance in the music business today I completely understand where Connor is coming from. I’m there too. Some people know my name and sure, I’ve made strong connections with important people, but every day I wake and battle with an internal voice that tells me I am not where I need to be yet. There is still another article to create, another hand to shake, and another email to send. Connor isn’t where he wants to be yet either, but as you will soon learn he’s working incredibly hard to get ahead.
If you would like to learn more about Connor and his ongoing adventures in music, please be sure to follow him, as well as Mind Equals Blown, on Twitter. Additional questions and comments should be left at the end of this post.
H: Hey there, Connor. Thank you for finding time to speak with us about your work. How is the week treating you thus far?
C: Thanks for having me! I just got to shoot Anberlin for the first and last time last night, so my emotions are all over the place. Other than that, I’m working a lot this week and trying to maintain whatever cleanliness I’ve found in my apartment.
H: I’m not really sure what your professional situation is, but I know many people with your career also have jobs on the side for those times when work slows down or they simply need to cover bills. Does the same apply to you? If so, what do you do when not looking at the world through your camera lens?
C: Oh, absolutely. Aside from shooting, I’m also an editor over at Mind Equals Blown, I work in retail at one of the biggest malls in the country, and I’m an actor in Philadelphia. Aside from working, I like to collect and listen to vinyl records, see as many movies as possible, and above all else, I love to nap.
H: You’re one of the first people to approach us about featuring your work on Haulix, and I don’t think you actually expected us to respond. What inspired you to reach out in the first place?
C: I honestly don’t really know! I’ve been using Haulix’s music promotion program ever since my start at MEB last year and only recently discovered the blog and how it showcases various aspects of the music industry and it really struck a chord with me. I initially tweeted as a quasi-joke because I’ve never been interviewed for anything before, but I mentally prepared myself for the possibility of actually interviewing and here we are!
H: The reason I asked that is because I think one of the most important lessons people can learn in music is that those who achieve their goals do so because of their own drive for success. No one is going to come along, pick your work out of the countless others hoping to have your dream job, and carry you off into a long-lasting career out of the blue. The only way to get noticed is to take it upon yourself to make people aware of your work. You did that for us, and now here you are. Kudos.
C: I completely agree, and that was honestly an idea in the back of my head while I was writing that tweet. I kept thinking “well, nobody but me can really do this for me, so why not?” The result is already pretty cool.
H: I’ve made it this far without mentioning what it is you do in music, but we have certainly hinted at it. Why don’t you go ahead and tell people what you do and who you do it for?
C: I’m a music and portrait photographer based out of Philadelphia. I’m currently a mainstay photographer for Mind Equals Blown, but am opening up to more freelance work whenever I get a chance.
H: We’ve featured a handful of photographers before, but not as many as I would admittedly like to have shared up to this point. I’m working on it though, and I’m glad you were willing to participate. Tell me, when do you think you first fell in love with photography?
C: Pinpointing a specific time is excruciating for me to even think about, because photography has always been integrated in my life since my childhood. My mother is a nature photographer and I’ve grown up shooting alongside her. It’s because of her that I shoot with Canon bodies and that I really love shooting landscapes on the side. This whole thing started with her. A given time isn’t quite an appropriate answer; it all stems back to my mom.
H: Before we dive into that a bit more, let’s talk about music. What are the earlier memories you have of music and the role it played in your life during that time?
C: Music has always played an incredibly valuable role in my life, whether I like to own up to it or not. The arts as a whole are what I’m truly about and what I love, but music has always umbrellaed over everything else as an overseer of sorts. I’ve loved to sing forever, I love going to shows, and I love how the production aspect plays out. As a whole, music is just so cool to me. When I was a kid, I was way into soundtracks, top 40 pop, and musical theatre even though I grew up listening to classic rock, Dave Matthews, and folk music. When I was 11, I attended my first concert, which was (I believe) the latest Simon & Garfunkel tour in December of 2003. The entire show was like a dream. I can’t really explain it much more beyond that. By the time I was in high school, I began hitting up smaller club shows, the first being Envy on the Coast’s Lucy Gray release tour with Kaddisfly, Danger Radio, and Powerspace (my then-all-time-favorite band). Since then, I tried to attend as many shows as possible. Nowadays, it’s something that’s purely second nature to me.
H: Let’s get back to photographer. Did someone in your life help nurture your interest from a young age? When did you first get a camera of your own?
C: As I said, my mother was my biggest influence to even pick up a camera. She grew up on a property that has acres and acres of natural, preserved woodlands so every time I would visit my grandparents, I’d see something new and memorable. As a kid, one of my favorite things to have was a disposable camera. It would almost be seen as a waste of money, given that I would fill it up in mere hours, taking photos of anything (and sometimes nothing) just to get it all developed as soon as possible. I got my first camera for Christmas in 2005 and have never looked back. Since my dinky little point-and-shoot days, I’ve upgraded to a Canon Rebel T5i DSLR and am saving to upgrade again.
H: Were you involved with music at all beyond enjoying it as a fan before foraying into the world of music photography? If so, how?
C: The most involvement I had was simply attending shows and doing street team work here and there, whenever I had the chance. I was on Fueled By Ramen’s team back in their neon heyday, that 2007-2008 style. That was the most I could do with whatever limitations I had and I certainly don’t take any of it for granted.
H: My research tells me you’ve attended college in the past. Did you study photography or anything else that aides you in your pursuit of a career today?
C: Indeed, I graduated from Arcadia University in May with a Bachelor of Fine Arts degree in acting. Photography and music, as I’ve said, have played extremely valuable roles in my life, but I’m a theatre artist through and through, which is something not many people know about me outside of my home and schooling life. I’ve taken photography courses throughout high school, but as far as a continued education goes, photography played absolutely no part in it.
H: Looking back, would you recommend that other aspiring music photographers attend college, or at the very least seek out additional education beyond high school? I know many of our younger readers have dreamed of making a living with their photos.
C: There are so many amazing photography programs around Philadelphia alone, so if it’s something you really want to hone in on and fine-tune, I absolutely recommend it. I’ve had friends go through programs and come out completely changed (for the better, of course). As a generality, a continued education after high school should be your decision alone. It’s a shame how frowned upon it is to not have a degree, but some of my closest friends are high-up managers at their respective workplaces and simply have a high school diploma. It’s up to you to decided what you want to do. I personally didn’t like college, but I don’t regret it one bit. My program kept me there because they believed in me. Surround yourself with positive vibes and you can get through anything.
H: You’re a part of the Mind Equals Blown news team, which is one of my favorite content creation groups in music today. When did you first learn of the site, and how much time passed from that point to the day you applied to be a contributor?
C: MEB has been around for a handful of years, but I didn’t really pay much attention to any site other than AbsolutePunk until very recently. I first paid closer attention to the site when I learned that my friends in A Lot Like Birds were really well-received by the team, so they had my respect right away. I connected with one of MEB’s writers through Instagram, of all places, in the summer of 2013 and he put a good word in for me to apply to the team. By September, I was enlisted as a photographer and a staff writer and got to review some great work. Throughout the rest of the year and the first few months of 2014, I was the site’s sole consistent photographer, which was a lot to take on, but the challenge of that has paid off tremendously. I was promoted to editor last month, so my writing is beginning to dwindle, but it’s quite an honor to be in this position. I like where I am on the team right now. It feels right.
H: What can you tell us about the application process?
C: It wasn’t anything too strenuous; I had to provide my age, favorite bands, any previous publications I wrote for (fact: there were none), and a few samples of my writing. I had actually reviewed my top ten albums released in 2012 on my personal blog, so I just sent them what I had and a couple weeks later, I was a member of the team.
H: Have you contributed to, or otherwise worked for any other sites since joining MEB?
C: I’ve submitted some of my photos to Alternative Press, but there sadly hasn’t been any biting. I also shot for the stars and emailed Rolling Stone, to which they promptly (probably) trashed it. Other than that, I’ve just worked for MEB but am willing to shoot as freelance if people will have me!
H: Do you think it’s important for photographers to find a site to call ‘home,’ or would you be perfectly fine existing as a fully independent photographer in the music world?
C: My ideal goal is to be independent, because it builds a nicer résumé and shows variety. Having a home or a niche is wonderful; it’s what I have now and I’m pretty content. But I’d like to get out there and build up the credits.
H: You wrote a blog for us about a week ago on the topic of your first concert experience as a photographer, so I won’t ask you to talk about that again. I will, however, inquire about the other articles you may write in the future. Any ideas yet?
C: The holidays are upon us at my retail job, so I haven’t quite mapped out much else just yet, but I’d love to touch on etiquette or something focussing on the show rather than the equipment. That’d be cool.
H: What was the last event you covered? Tell us a bit about the experience.
C: I said goodbye to Anberlin last night and I cried. Their lights were incredible and epic, just as I’d expect them to be. They mean a great deal to me and my craft, so I’m glad I didn’t miss out on the show. It was one for the books, for sure.
H: You’ve been in music for a little while now, and I would like to think you have a strong grasp on the state of the business. Do you aspire to be a full time music photographer? If so, how are you currently planning to make that happen in the years to come?
C: You know, it’s hard. It’s very hard to have any job in the arts, whether it be photography, music, or theatre. Doing all three sounds like a nightmare to most, but the challenge is what keeps me going. Upon leaving college, I was cast in my first professional theatre role and that one show took up my entire summer on top of shooting, so it absolutely kept the wick burning under my ass, which I loved. Right now, I’m focusing more on saving my funds to move, so theatre is kind of on the back burner while I put in more hours at the mall. Photography is the one steady thing I can keep consistently doing; I don’t work nights and can plan out shows well in advance. If I could have a solidified, money-making career in the arts, that would be amazing. I don’t want to work in retail forever. I just have to get over that hill and get better at what I do. There is always, always, always room for improvement and anyone who says otherwise is a big, fat liar.
H: What are the biggest hurdles between where you are now as a music professional and the place/role you would like to reach?
C: Getting my priorities in order, for one. Another big one is time. My biggest problem is that I want too much too quickly. My friends and family keep saying “you’re doing too much to not get paid for it” but the fact of the matter is that I love it too much to make that a priority. I feel like things could potentially move faster if I allowed that to happen, but then I would be limited to what I could actually do. Aside from a few promo shoots, I’ve over ever sold my wares once, and that was because I didn’t want a free microphone.
H: If someone reading this is just starting to consider a career in music photography, what advice would you offer them?
C: If you like something, keep doing it. Nine times out of ten, what you want will never just fall into your lap; you have to work for it. For most of the time, it absolutely sucks and you’ll start off by getting little to no recognition, but if you keep at it, it’ll pay off. I’m almost there. Almost.
H: Where is Connor Feimster going to be five years from today, and what will he think of the way he spent his time in 2014?
C: Aside from joking that “next year will be the year of perfect vision”, I hope to have people know my work. The most egotistical thing I want, if you can even call it that, is to be appreciated. By 2019, I would like to eliminate the crutch of retail, complete with a roof over my head with the person I love by my side and maybe my own studio that can work both as an editing station and a practice space for whatever show I’m in. That’s the dream.
H: I think that is all I have for you right now. Before I let you go, are there any other thoughts/observations that you would like to share with our readers?
C: I’d just like to give an extended thanks to anyone who has taken the time to say a kind word about my work and took the time to read all of this. There’s no reason to shoot shows without fan input and appreciation, so for all that and more, I thank you. And thank you, James. This was a wonderful experience.
Hello again. Thank you for joining us today. We have spent a lot of this week talking about the industry and how bands can better there efforts, but before we head into the weekend there is one additional industry profile that we wish to share. If you’re into photography, this post is for you.
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.
It’s not every day that someone writes us with a request that we consider their work in regards to planning our future content, but I have to be honest and tell you those are the email I open as fast as I possibly can. Why? Because it takes a special breed of person to speak out and let the world know they are doing whatever it takes to chase their dreams. Some people who do this may come across as egotistical at times, sure, but from my experience the people in the industry who are most vocal about their efforts have the results needed to back up their statements more often than not. This is a business that demands individuals take their career into their own hands if they ever hope to get ahead, and today we are thrilled to introduce you to one young woman who is doing just that.
Allison Newbold, otherwise known as Ally, has been building her reputation as a music photographer with an eye unlike any other since 2008. She knew she had a passion for photography from a very young age, and she realized early in her teen years that in order to make her hobby anything that could one day resemble a career she would have to do whatever she could to position herself for success. She shot every show she could attend, honing her skills and networking with groups of all sizes along the way, but things did not really begin to take off until Ally moved to Philadelphia in 2012.
I never knew Ally’s name prior to working on this feature, but as soon as I began to scroll through her photography I realized I had been enjoying her work for years. She has an eye for this medium like very few do, and considering how young she still is it’s very likely that talent will only continue to develop in the years to come. Even more important than that however, is the fact Ally has taken her career into her own hands, accepting responsibility for her successes and failures as they come. It’s something I wish every young industry professional could do, and my hope is that learning Ally’s story will encourage others to take it upon themselves to make positive changes in their own lives.
If you would like to see Ally’s work and learn more about her life in music, click here to visit her official website. Additional questions and comments can be left at the end of this post.
H: Before we begin, please take a moment and introduce yourself:
A: Hello, my name is Ally Newbold! Thank you for having me.
H: It’s great to have you with us, Ally. It’s rare that someone comes to us looking to be featured, but I am happy that you did. There’s so many people working in and around blogging today it’s often hard to figure out who has the best story to tell. Yours is pretty great, but before we get to it we should tell everyone a bit about your past. What memories of music do you have from your childhood?
A: Music has always been an important aspect of my life. As a kid, my dad would listen to a lot of jazz and blues but I found myself listening to pop music at a young age. I would dance in my room to Britney Spears and aspire to be as cool as Hilary Duff. I also had a huge crush on Nick Carter from the Backstreet Boys and also was a huge Green Day fan. Music has always played a major role in my life and I would not trade it for anything.
H: This is a question I think we have asked everyone on this blog to date, but I think it’s one that says a lot about a person and their journey: What was the first concert you attended? Bonus points if you share an early fan girl story.
A: My first concert was the Backstreet Boys Millennium Tour in 2000 which was huge for me because as I said I had the world’s biggest crush on Nick Carter. I had Backstreet Boys posters hanging in my room and had several Backstreet Boys merchandise items including t shirts and trading cards. I also learned the choreography to almost all of songs and practiced it for hours in my living room. My mom videotaped it. I will never release the footage.
H: Can you pinpoint any type of ‘lightbulb moment’ or experience in your youth that let you know a career in and around music was the one for you?
A: I did not have many friends growing up. I moved to a few different cities and changed schools fairly often. I kept to myself most of the time and found myself attending shows more often than not. I would attend these shows alone and my mom would wait in the parking lot for me after the shows. I knew that this would play a huge role in my life and I am still the same way. I still attend shows alone (not always) but now my mom does not wait for me in the parking lot anymore. Now, she will just text me after the show asking how it was. This was a strange way for my mom and I to connect, but the amount of time she wasted waiting in the parking lot means more to me than she will ever know.
H: You’re still fairly young, but that amount you have been able to accomplish up to this point is incredibly impressive. Did you pursue any education beyond high school for music, photography, or any of your current roles?
A: No, I did not pursue any education beyond high school for music or photography. Honestly, I don’t even know how to play an instrument. I am currently finishing up the last year of my undergrad at the University of Central Florida for a degree in history and legal studies. People are generally surprised by this because I did not study photography.
H: Do you feel secondary education is something everyone should seek out if they desire to work in music? Please support your answer.
A: I do not think it is necessary for someone to pursue secondary education if they desire to work in music. I think it could be a helpful tool to build connections within the music industry and a good way to start getting out there, but personally I think it is about a person’s work ethic and passion. A passionate person with a strong work ethic is the most useful tool one could have.
H: I know from our previous conversations that things really began to take off for you after you relocated to Philadelphia. What can you tell us about your first outing(s) as a photography/videographer? Who did you work with, and what do you recall from the experience?
A: Yeah! Philadelphia has been nothing but wonderful to me since I relocated here. My first show in Philly was the annual Lost Tape Collective Holiday Show hosted by Man Overboard at the Theatre of the Living Arts in December 2012.
H: You are involved in a few different projects within the music community, so we’ll have to bounce around a bit to let everyone in on all you do to keep this business moving. Let’s start with the blogging community. What initially inspired you to apply to various sites, and which sites did you seek out first? Why?
A: It is crazy to say that I have had a Flickr Account since 2006. I began my journey taking self-portraits in and around my house in Palm City, FL trying to push the limits of what I could do. I was inspired by so many talented Flickr users who were doing the same thing as me, but better, such as Lexi Mire and Alex Stoddard who have both come so far since then. I began taking portraits of others in 2007 and found myself photographing bands in 2008. Photographing bands was something that I never thought I could do. I thought I needed an education behind it and some sort of mentor, but all I really needed was myself. My process of this was trial and error. If I did not like something, I would do something different until I found something I did like. Even then, I would and still continually challenge myself to better my photographs. Photographing shows is something that is really important to me. I feel like although I cannot play a single instrument, I am an active member of the music scene and I am a part of something. This timeline can be seen on both my flickr page (flickr.com/allisonkilla) and also on my myspace photography page (myspace.com/allisonkillaphotography). I am still active on my Flickr account and sorry to disappoint you but I am no longer active on the myspace page.
H: As far as I can tell, it’s this initial effort you made to get your name out there that really started the ball rolling on your career. In fact, as we will discuss in a minute, networking has played a large role in many of the opportunities that have come your way. What advice can you offer our readers on getting over your fears and doing whatever you can to get the word out about your efforts?
A: I think it is important to always be confident and to always challenge yourself. If you love something, do it. If you really care about something, show it. There is no greater feeling than to love what you do for a living and to truly be passionate about what you do in your day to day life. I moved over a thousand miles away to get my name out there and I do not regret it a single day.
H: You currently contribute to Nothing Original and PropertyOfZack, both of which are sites we have featured on this blog in the past. Do you see yourself adding more blogs to your resume in the years to come? Any ‘dream’ publications?
A: I love my families both at Nothing Original and PropertyofZack. Both Steven of N.O and Zack of POZ have been nothing but welcoming since I have contributed to their sites. I am currently in the works of adding more blogs to my resume. It is important to continually build your name and expand. I would love to be a contributor for print magazines and websites such as Rolling Stone, Spin, Alternative Press, and Fader Magazine.
Note: I have contributed to Alternative Press in the past but I would love to be an active staff member for their publication.
H: Your photo taking skills play a large role in everything you do within the industry. What first got you interested in photography? Do you recall anything that specifically turned your attention to concert photography?
A: I first began taking photos as a way to build up my self-confidence. I took creative self-portraits to show that it is okay to love yourself and that you have to love yourself first before anyone else could really love you. The more I took photos, the more I wanted to learn about the different areas of the photography world. I began photographing concerts at the end of 2007 and only took it professionally since I relocated to Philadelphia at the end of December 2012. The first time I really wanted to take photos at concerts was during the Manchester Orchestra headline tour for Simple Math. I was at the House of Blues in Orlando, Fl with a couple of friends. I am fairly short, barely 5 foot and I was standing in the crowd. No matter how close I got to the stage, I still could not see the band perform. I saw the back of people’s heads and felt extremely overwhelmed from the environment that I was in. That was the moment I knew that I should take photos at concerts. Although I still have anxiety at shows, it’s a different kind of anxiety. I am now anxious to show my photos to the internet world, but I love challenging myself by getting the best shots I possibly can.
H: People who may not be familiar with your blog efforts may know your photo work from Man Overboard’s most recent Rise Records release. Can you tell us a little bit about your history with the band and how you were recruited to take that photograph?
A: I began working with Man Overboard in February 2012 when I was put in contact with guitarist Justin Collier about taking a photograph of vocalist/guitarist Zac Eisenstein for a feature in Alternative Press Magazine. I took this photograph of Zac in Tampa, FL while they were on their headlining tour with Handguns, seahaven, and Candy Hearts. From then, Justin and I remained in contact with each other. In December 2012, Justin was promoting their annual Lost Tape Collective Holiday Show and I expressed interest in attending. Within a handful of days, I relocated from Orlando, Fl to Philadelphia, PA and began working with the band. Since then, I have worked with the band on several merch items including their newest LP, Heart Attack, as well as shirts, pins, posters and more. Recently, I went to Made in America with Man Overboard and I am working on a new project for them.
H: You are also involved in Space Jam Sessions, which is a recurring video series highlighting intimate acoustic performances from a number of up and coming alternative acts. When did this project first launch, and what inspired you to create your own web series?
A: Space Jam Sessions launched on January 1, 2014 with the premiere of our first video with Erik Czaja of Dowsing. Space Jam Sessions was created at my house, the Michael Jordan House, originally named by roommates. This project was created because I wanted to find a way to showcase some of the most talented and hardworking bands I know in a personal, intimate environment. It is a way to show that these bands are more than just band members, but creative and interesting people, too. I tapped on Zac Suskevich (guitarist of lovechild, video editor at Topshelf Records) to edit the Space Jam Sessions and it was the best decision I have made. We work together really well and I am happy that he’s my partner on this project.
H: How have these video sessions evolved, if at all, from when you began? Have you learned any lessons about the industry that you can pass on?
A: Space Jam Sessions grow and grow with each and every release. Zac and I are always coming up with new ideas and recently, we have been premiering sessions with bands collaborating with each other. This is my favorite segment that Space Jam Sessions has done because it is really cool to see bands performing with each other in such an intimate environment.
H: You have so much going on it’s hard to imagine how you find free time to think about the future, but I assume you’re doing all this because you have larger successes in mind. Tell me, what are your current career goals?
A: My current career goals are to find a band or label to collaborate with and to travel the world documenting my experiences through photography. I really enjoy candid moments and after the touring that I have done already, I know that I belong on the road in the back of a van seeing the world.
H: If you could offer one piece of advice to those considering pursuit of a life in the music business, what would it be?
A: One piece of advice to those considering a life in the music business would be to learn things on your own. Go to shows all the time, whether you are friends with a band or not. If you are not friends with a band, be friend them. We are all involved in this for the same reason- the love of music. Go ahead and make friends and don’t forget to have fun.
H: Do people have any misconceptions about the life of music photographers? If so, what are they?
A: I think that sometimes people think that the life of music photographers is all fun and games but they don’t realize all the behind the scenes work we put into it. There is so much that people don’t know- such as the time it takes to build relationships with bands, managers, public relations, labels, and others involved in the music industry. We also send a ridiculous amount of emails day in and day out and spend hours editing. We have to make sure our schedules are flexible enough to cover as many shows as we possibly can and although the shows can be fun, sometimes we have deadlines and requirements that can make a show feel a hell of a lot more like work.
H: If you could change one thing about the modern music industry, what would it be?
A: This is a thing that is currently developing but just for people to be more accepted of people no matter what race/gender/orientation/age they are.
H: Where do you see yourself in five years?
A: Hopefully graduating with my master’s degree and still taking photos. I would love to have my own darkroom and studio space but that’s just wishful thinking.
H: That’s all I have for now. Thank you again for speaking with us. Do you have any final thoughts or observations that you would like to share with our readers?
A: Thanks so much for your time. This was the most interesting interview I have ever done and I am quite happy to be a part of your site. To all the photog nerds out there, keep doing what you love and don’t be afraid to try something new!
