AUSTRALIAN MUSIC PHOTOGRAPHERS | BLANKETMAGAZINE.COM | 3 INTERVIEWS 07.2007
Blanket writer Amanda Van Elk, talks to three very different band photographers about how they captured their favourite images and what they encounter on a daily basis in the name of rock.
Kate Griffin and Airbourne
“I had bruises across the front of my legs from the crowd pushing me into the stage. I walked out of the Prince of Wales pub soaked in beer, bourbon and other peoples sweat.”
Kate Griffin is evidently a tough one constitutionally. But after working for years doing professional wedding photography, portraits, advertising work and promo shoots, she’s still found nothing that compares to the buzz of capturing bands live.
“This is such a classic rock’n’roll moment despite Airbournes’ fans being mental bogans. There was no barrier at the gig and I got pummelled to get this shot.”
Whilst potentially sounding like a masochist or worse, Kate explains that live band photography appeals for the precise reason that for her, it is a whole body experience.
“It's the unknown element to it all, I’ve been to some amazing gigs where I’ve walked away with photos that didn’t do justice to the show and vice versa. Airbourne went with red lights for their whole gig. This is the hardest light to shoot, it's so low frequency that it's hard to get any detail.”
On reflection Kate muses that atmosphere aside, there were also artistic reasons for this shot making the grade as her favourite band shot. There was a technical challenge to capturing an iconic photo in such difficult light, especially as Kate prefers to take purist approach to photo editing. “I never use effects. I never use Photoshop either. I believe in taking what’s there. Having bruised her shins for 18 months and loved the spontaneous nature of live band work, Kate now feels it's time to focus on promotional band photography. “Most of the live stuff is unpaid but it's coming full circle. Once you have a name and the PR companies know who you are, they come to you to ask if you can do promo stuff. That’s where you get paid.”
Given that her attitude to live band photography is so rock’n’roll, we think Kate will go far and indeed continue to risk physical danger on her enduring quest for band shot perfection.
www.griffinrocks.com.au
Glen Wilkie and The Panics
Luckily The Panics do not stand for everything demoralising, cheap and soulless about music. If they did, there's very little chance that they would have convinced Wilkie to do this promotional shoot at all. For him, creation of the treatment and the planning phase can be the most creative part of a promo shoot. If the artist doesn’t have decent music to work with, he just can’t create a vision with any integrity. “Listening to their music is something I always do and it’s usually the biggest inspiration for my shoots. Plus you get a feel for what music they’re trying to record, you meet them, discover what kind of people they are and can customise accordingly.” For this shoot Wilkie and The Panics had a clear idea of the treatment. One shoot, Centennial Park, four different setups.
This particular photo however, was not part of the plan.
“It is really unusual in that I didn’t intend to take it at all. When you propose a treatment with particular shots included that’s what you’ve got to give the band. This was the exception.”
He finds the best way to work is plan about 75% and leave 25% to chance. If something unexpectedly cool pops up, he just runs with it.
“I also like it when the band have the seed of an idea, like a reference point. Then I get to shape things. I like having control. Maybe I’m a bit of a sociopath?” he laughs. This may explain why he is so particular about his equipment (A 1954 Hasselblad 500 camera) and it may also explain his masterly command of Photoshop. In this shot however, the surreal light worked its sweet magic and the photo didn’t require much tweaking. “It was definitely all natural light, what I did do is put a gradient on it which is just emphasising the colour that’s already there.”
The promotional band scene is where Wilkie successfully resides these days with live work being something he will only do for fun. “I like something with more of a concept behind it, he says. “The more I think about it, the more it’s about real creative control. Whoops there I go" he says, "being a bit of a sociopath again!”
www.wilk.com.au
Angelo Kehagias and The Mercy Arms
“I almost got the poor kids run over! For this shoot there was no preparation whatsoever. Their manager requested that I take some shots of them rehearsing. I took them outside, threw a sharp left and took this image on Fig Street in Ultimo. They had to scale along a little ledge and stand there while cars whizzed along below them. I was on the opposite side of the road waiting for the right opportunity.”
Perhaps Angelo should ask all future bands to risk death in the name of photography? Given the success of this shot, we think it could be a good reference point for next time.
“This is my favourite image because it’s what kicked it all off for me in Australia” he says. After spending a long time in London pubs, getting drunk and taking photos of the live gig scene Angelo struck professional success with advertising agencies, magazines and music festivals. Since returning to Australia, the music side of his endeavours have been focused on band promotion which offers more scope for a photographer who holds traditional aesthetics dear.
“There is something to be said about shooting a musician in their element on stage, but what I like about the portrait shot is that you’re contributing and sometimes even creating an image for a band.” A lot of young bands struggle to find an image that they’re comfortable with. Sometimes I feel its my duty to help create that. That doesn’t mean bringing in a stylist and dressing them up. What I am trying to create is a sense of unity.”
Angelo never uses digital. “I shoot all my music portraits on film, not very cost effective but I am trying to maintain my artistic integrity and clients come to me for a certain feel that requires me to shoot on film. Photoshop was only used for basic dust busting and contrast control here” he says.
What communicates clearly is the candid moment shared between four men, perched above a highway waiting for the grand moment to be captured.
And it begs the question for us... why does the guitarist have his hands stretched out in front? Is it symbolic?
“Thats the funny thing about this image” says Angelo, "They all look slightly bemused... No one in the band has a clue as to what Keiran is doing. It sums up the dynamic of the band perfectly.”
www.akfotography.net
-Amanda Laver