The Camera Cafe Show
Tom: Hello, all your photographers, and greetings to yet another episode of our Camera Cafe Show podcast and we are entering season two now. So it's been learning the ropes of the podcast venture, but I think we are getting the hang of it slowly. Today it's 8:00 PM in our guest home and we are moving to the UK and get you up to speed about music photography with Richard Clark.
Richard describes himself as having a never stopping passion for photography and is particularly excited by music photography where he can put his skills to the test In this fast paced, low light world since 2019, Richard has photos and articles featured in popular magazines, which has led to further commissions from music PR companies.
And apart from that, he's an active member of the Harrogate Photography Society, has been featured in their annual exhibition delivering presentation to showcase his portfolio and winning the Counter Trophy for 2019 and 2020.
Tom: Good evening, Mr. Rockstar. How are you doing?
Richard: Hi, Tom. I'm fantastic. Thanks and how are you?
Tom: I'm great. I'm all ready for this, Richard.
Richard: Fantastic.Thank you very much for having me. It's a , massive honor, so thank you.
Tom: No, it's my pleasure. It's always good to hear somebody talk about his passion in photography.
Easy question Richard. You ever been starstruck?
Richard: Yes I have, and I daft things on a regular basis anyway, but it's even worse when I say it's someone who's either famous or relatively well known. And classic one was when I was photographing a festival.
It was a day with Will Robinson from, I'm not from London, and I'd gotten a lot of work from him. Like he helped start me out basically, but can talk more about that in a second, but what happened was, there's Dick and Dom who are children's entertainers and dj, they just tour around the UK occasionally and something went off with their photographer and I've been photographing at the front of the stage for other acts and bands and things like that and get in the crowd.
And then I just heard this whisper and this tap on the shoulder and it's like, oh, Richard, photograph Dick and Dom on stage. I was like, and suddenly I was like, huh, thrown into something that I hadn't quite signed up for, ready for. So I walked up to Dick and Dom shook their hands and introduce myself.
And as I introduced myself I said, Hey, it's a triple like Rich, Dick and Dom, and their facial expressions was just blank. And it was just like, oh, you think you're funny? Like they hadn't heard that one before. So I was like head in my hands, sort of like thinking, you know, I said, oh, well that's why you are on stage and I'm behind the camera and you are the funny people and I'm not. And so I kind of walked off just like going, oh my gosh, why'd I say that? Will was like, you're right, Rich, you're right. So I told him what had happened and he was just, he'd just found it hilarious. So, anyway, he got on stage, I was outta their way and it was a great gig. And at the end they're like really nice really supportive.
And I said, oh, did you get a good shot? So he's like, yes, I did. By that point I'd kind of calmed down, but so I say things all the time, so I greet people like they should know me , and then I suddenly kind of catch myself and actually think, no, they don't really know who I am. So I just have to try and take a couple of deep breaths and think, okay, just introduce myself, try and be normal. Try and be and, and do my job.
Tom: I, guess it happens to a lot of them, so I wouldn't worry. It's nothing that can't go away with a good drink after, so, no problem.
Richard: Absolutely. They're probably another special person they've encountered. But yeah, they handled me very well.
Tom: Rich to go a bit back. When you started out, like, I guess most of the people you start maybe shooting landscapes and family events and people, and then you jumped over to live music events. You remember what sparked this shift in focus and how did it impact your creative approach?
Richard: So I think I always been really interested in people and like I say, I'd done landscapes and I still find 'em fascinating. Frustrating, but ultimately enjoyable. But I think trying to master people and just, yeah, I really wanted to capture people's energy and, their character and their enthusiasm and the craft, what they do.
And I think very early on I was lucky to know Will. So I'd already done a gig. It was a fever festival in Borough, in 2013. And it, because I was photographing part of their services. It was a mental health charity, so I was photographing what they did, and part of that was this event, and as musicians, DJs, guitarists, singers, you name it. So I was like, I was really obsessed from that point on and I was like going, oh, it was really terrible. I just thought, I really want to capture what they are doing and trying to light with the lights and things like that.
And so I'd said to Will that I'd done this. And so he was like, oh, come down to a couple of shows. so I took my camera and did, but it's like always I was trying to get to the next level. How could I really get across to people who weren't there, some of the atmosphere and how could I do that? So I was like, yes, it's about the bands, but also it's about the fans and trying to bring them into photos and trying to capture what they're doing.
And some people will have the hands up, they'll have the phones and there'll be mouths wide open to singing and. Smiling and some people might be crying because they're just so overall. So it's just really trying to capture that energy and that atmosphere that's there.
And it's like, at first I was, I tried with black and white and I pretty much just saw it black and white as well. So that was my go-to, I thought, well, that's really gonna work. But then I was looking at like textures in terms of clothing. I was looking at how the lighting was hitting people's faces. And then I thought, so like Rembrandt kind of came to me and like the angle of the light on one side of the face and then it's like slightly more shaded on the other.
And there's all these different creative ideas that had kind of seen before that I was then trying to recreate, and adopt into my own style. I. So yeah, it's just a fascination that started from there and it, it was a buzz because it's live and it's happening in front of you and there's lots of action and there's lots of jump shots, there's a lot of head banging and it's just how to capture things like that.
And sometimes I'll look, do a quick jump and go, I've missed that one, you know, so I need to get it next time. So forever the drive to carry on improving and learning and developing. So it just took me to for more, more gigs really, and going to different places.
Tom: You talk a lot about will Robinson, who is he exactly Richard?
Richard: So Will he is a great mate of mine, known him for, oh gosh, well over 20 years now. He is owner of many things, but he is like the Nothingham Music Mogul. He's like the Simon Cowel of Nothingham and he is a music promoter, label manager, you name it, he does it. And he started out oh gosh, years ago now.
So basically I'd always gone to his gigs, had a few drinks, dancing, tearing up the floor, all the rest of it. And then it came to him just asking me to bring my camera down because I'd spoken to him about one of the gigs that I'd done for the mental health charity. And he just said, oh, come on down, you know, like and see what you can do. And I was like having done one, so bear with me, I might not be great.
And he agreed for the first gig that I did for him, and pulled out a couple of really good shots and so that didn't deter him from inviting me back to do more gigs and promo shoots. And still occasionally now I'll do a little bit of work for him. But yeah, it's just good to have someone like Will not only is it a contact, but is also like a great mentor and give lots of advice to me over the years. Also that's meant that I've had other access to photographers like Ralph Barkla who was very influential in terms of giving me advice when I was first starting out. He was there at the same gigs, like for Will. So he was like, telling me about what settings to use who to shoot, and looking at all the lighting and how to counteract all the LED lighting and things like that.
So he was really helpful all round. It is really good to immerse myself in the music scene, to know how it's done, grassroots, from putting on gigs to turning up into all sorts of different venues, the bands chatting to them and building up relationships. So it's a great package all round really.
And it's just something that I've really appreciated because then I was able to build a basic portfolio to go onto the next stage. So I'll always go out and support Will where I can and take photos and promote the stuff that he does.
Tom: So Rich regarding will Robinson, as your mentor, what advice from him resonated with you the most?
Richard: I remember one bit of feedback 'cause my editing game, so up my editing game when he was like, oh yeah, you've definitely markedly improved in that. So it was about, making like little changes about my editing, how I put the images across and things like that to add a bit more, to it.
But, I think it was just more about asking the right people in music scene. And like going direct to people. So particularly like in the early days, it's like going direct to bands. And it's about doing research of who's in the local area, what's happening on the local music scene and things like that. So that was really pivotal. Because then when I moved up to Harrogate I started working for the venue Selby that was based on a very basic portfolio that I built up with Will and his gigs and just to demonstrate some of the stuff that I could do. And then the venue were like going, oh yeah, come down and take some photos. And then that led to a stronger portfolio, more experience like working with different lighting, different people again. So yeah, it's just all about connections and it's about putting my best portfolio forward that made me stand out to be able to say yes.
And I think the other thing that he said was that people like venues love photos of the actual venue, so it showed like an all round experience from the second you step foot through the door, this is what you'll kind of expect when a band's on, so it wasn't just about getting the band. Yes, they're really important, but I think it's also about, trying to help as many people out as possible.
So the bands get their promo shots the crowd gets to see themselves and also the venue gets to see their venue looking amazing and absolutely jam packed. It sells for everyone and it gets everyone that little bit of exposure. So that was really good. And that's still what I live by today for reaching out to people and showing my best work.
Tom: Well, I guess in building a portfolio networking is, like crucial in your photography. What strategy you use there to make connection with the venue or, or bands Richard?
Richard: So for venues what I tend to do is I will drop like an email of, I'll put like six images on one sort of slide, and say, here's a half a dozen of what I can do. Here's a link to my website. And just sort of like saying, this is who I am, I'm in the area and I can come and do some great work for you and that sort of thing.
And that gets your foot in the door quite a few places. And for bands, I guess it's the same, it's just doing research of knowing who's in the local area. And, seeing what kind of bands there are what kind of shots they normally have, whether you can do something different that I might appreciate or just like letting other people know what you can do for them. And then it's like you're providing them service.
And again, through social media and, social media these days, you can speak to most people. Hashtag or DM, and you'd be surprised by how many people reach back out and say yes. And it's like, oh yeah, I'd love to have you down. That's what I found. It's like a lot of venues, they loved to have me down there, come in and yeah. It works for everyone.
Tom: This goes the same for bands? I mean, thinking of somebody maybe who wants to start out in this. You contact also by email? I'm talking small bands. I'm not talking mega rock stars, of course.
Richard: Yeah, not the Foo Fighters or anything like that. No. You've got no chance there. But yeah, you can go through Facebook, Instagram, X, and just dropping people a line. You can even like tag them and say, a shot of a gig I've done and just start like connecting and just like commenting on their posts and say that you like them as a band and like that.And just get the conversation going and it kind of warms people up and people will then be like, oh, you can do that. All right. Okay. And then they'll be like, yeah, we'll let you in on the guest list and things like that. So it can go from there.
And smaller bands really love the attention as well. And they're like not always used to people reaching out to 'em in that way. So, yeah, it's good to start those connections. And also like if you're fortunate enough to get into a gig, always photograph the support band because you never know A: who they're gonna be in a few years time, and B: also where that connection could lead you. Let them know your details, like hit them up on social media and, they'll ask you to do promo shoots or to go to the next gig and things like that. By doing that, I've got extra photo passes for example.
So it's just by talking to people as well. There's also other ways, maybe the weather warms up, you're gonna get more people who are gonna be out on the street. They're gonna be playing in bands. There might be festivals that like you can walk into or pay a few quid you're in and there's no problems in terms of camera gear. And then you're able to take photos there and you don't even need to really ask permission, you can just go there and shoot. So there's lots of many ways around doing it.
You can network and you can speak to people afterwards. And you can show on the back of your camera, this is what I've just taken. And you can exchange details there and say, oh, is there a way that I can send this to you and, and that sort of thing. So you start to build up that way. It's a lot of hard work. Takes time, but it's not impossible.
Tom: It sounds also a lot of free work, you know, in the beginning, I suppose with with little bands.
Richard: Yes. Yeah. And then it gets to a point where you'll start charging and you'll probably won't charge much. 'cause bands don't get paid much in the grassroots level, especially if they're splitting it four or five ways. But yeah, it is a little bit of free work at first, and then it kind of builds and your name builds and your reputation and everything else.
So then you can like, say it's X amount for a gig or X amount for a couple of photos and that sort of thing. And generally bands are quite happy to pay for that.
Tom: Richard, you are doing the the live events. You ever get asked to do behind the scenes or portrait shots?
Richard: Sometimes I do. Yes. And they tend to be very quick, the ones that are like behind the scenes, so you get a matter of minutes. So you're there with like one flashlight and, stand against the wall and bam, bam, bam, and then you're done sort of thing. But it depends on the access to shows that you have. 'cause sometimes I'll get and it's like I'll be in the pit, so I get ushered in and out. There will be other times where I'm at the soundboard and then there'll be other ones where I can kind of hang around the gig all evening long that it doesn't really matter. So that's when you get a chance to chat to people and get those informal photos then, but also you get to do the promo stuff as well.
So been a few bands where I've done their portraits studio and on location, which is really good fun to do it's a different test of skill. But usually for me it's live stuff.
Tom: Let's get to the gear question, Richard, because I suppose many people want to know. Can you share give me some insights in your camera gear and equipment?
Richard: So I have a Nikon Z6, I have a 24-70 and 14-30 and 70-200. So I'll cover quite a bit of range there from your wide, super wide and then telephoto. It can be a bit of a struggle with that camera, but it's about knowing it and knowing when to shoot, what's the best lighting for it and it becomes second nature at that point. I've only got the one camera body, so I am changing lenses. It's a bit like a blindfold test, you know, in the war films like stripping down a gun and like putting it all back together without look really looking. So it's like, it does get to that point where I'm trying to be as fast as possible. So it can be a quick changeover and then change again. It's great and low light to be fair.
And in the smaller venues, if you can nail the smaller venues, you'll be able to nail any arena or yeah, any of the larger clubs and things like that where the lighting tends to be a lot more impressive. So it does perform really well.
I hang out at between ISO 3200 and 6400, so it's quite high. There is a little bit of noise that creeps in, but I'm not worried about noise at the end of the day. And if people want to use in large format there is software to de-noise and things like that.
But my philosophy is just get a sharp image rather than something that looks flat and a bit horrible.
Tom: You start with some basic settings Richard when you go in the pit?
Richard: Yeah, so I have it kind of set baseline at about iso 3200, aperture 2.8. and my shutter speed doesn't tend to drop below 1/200th of a second unless I'm doing intentional camera movement and blurring or things like that. And that's only when I get a little bit more creative and a bit more wacky when I do that sort of thing.
Tom: Because the pit, I suppose we are talking about a 10 x 2 meter area where maybe two or three or four photographers are at the same time inside?
Richard: Yes. Yeah. And more. Yeah, it can get pretty busy in the pit. So it is a challenge. There isn't much space. There's plenty of width going along the stage. You get all kinds of characters that are in the pit. Some that are more, polite than others, I guess. And there is an etiquette and some people will shove their hands up in the air and they'll, with the cameras and trying to point down, trying to get like the bird's eye view shot. And then I've had countless images ruined because someone's camera's in my face.
So it's so right, right where the photo is. So and it is a challenge. You have to be aware of who's around you. Always step behind people and give them like a bit of a gentle tap on the shoulders so that you know where, where you are. And always to be fair to other people. Don't hug the same spot, and let other people have the chance. And also, you don't want to be stood in the same place getting the same composition all night long either.
But yeah, so it's just being mindful. It is really, really energetic, really exciting. And it's a massive buzz.
You've literally you've got your back to all the fans that you can hear screaming, and then you've got right in front of you, the band. So, and sometimes the band run up and get really close and yeah, and it'll give you like a nice smile or like stick the tongue out. They'll like talk to it or other people just don't really care that you're there and they'll just carry on doing the thing. But yeah, it's a great challenge.
And changing lens can be a challenge as well, while you're a bit cramped up and stuff, but you kind of make it work.
Tom: And you're wearing some special kind of earphones or something will with the noise coming through.
Richard: Yes I do. I've got noise reduction earplugs and they're really good and they stop the ringing and they're tinnitus and things like that. So they're a lifesaver and they are definitely well worth needing.
When I went to the venue Salby, I didn't have any by these point, but they did have the phone ones and just stuffed them in the ears and that made a bit of a difference, but not quite as good as what I have at the moment. But yes, everyone must get those definitely if you want to hear into your seventies.
Tom: Any other accessories you use Richard?
Richard: No, not really. I known people that bring in like step stalls and things like that to give them a bit of height. But no, I don't tend to have any other, like, accessories now. My Z6 and my three lenses. I might do some multiple exposures, so that's more than one photo, or trying to get different effects, and that's pretty much it, really.
Tom: Richard, this three song rule that is a thing in music photography?
Richard: Oh yeah, absolutely. It's ingrained in my soul, I think three songs and no flash. I think it dates back to, although no one's really clear, Bruce Springsteen. He started it, where he didn't want people to take photos, you know, when he acts get really sweaty and that sort of thing, and probably looking a bit more disheveled.
So it is trying to get them when they're fresh, when they first come on. No flash came in because of yeah, distracting the music act. So I completely get that. And it is a distraction.
So, but yeah three songs and they are very particular about it. I did accidentally overshoot when I was at a soundboard one gig and a big burly bouncer came and told me off in no one certain terms. I was like, whoop, sorry. And I was really apologetic and he was a lot bigger than me, so obviously I was going to listen to everything that he said.
Tom: So Rich, you are, say in half dark, a lot of noise coming through, 10 photographers in the same space, and you've got like, what, 12 minutes to get your pictures?
Richard: Yeah, 12 to 15 minutes, depending on how fast the band I are at the three songs. It's is a challenge.
Tom: Do you have a strategy to to ensure you get the shots?
Richard: Well, in the beginning when I went from a small venue to three songs, I was like Rambo diving with a semi automatic, you know, and spraying and praying. I was like, I need to get these shots. But now with experience under my belt, it's a few deep breaths, nailing the safe shots first. So what I mean by that is get each band member individually get them composed to how you would like them.
You look at the lighting, clothing, and picking up even like some of their detailing, the tattoos and the hands on the guitar strings and things like that. Nail those safe shots and then after that a quick chimp and make sure that everything's okay. Then switch to another lens then go for more the creative stuff, different angles, get in the crowd and like really zooming in on the emotion and that sort of thing.
So I have a bit of a strategy to make sure that I've got every single member sharp, doing something that I'm really happy with. And then I go wild after that point because you've already got some in the bank.
So that's a good confidence builder as well, knowing that you've got some in the bank. And I think particularly when you're first new to it, then it's about confidence. It's about knowing what you've got, and knowing your camera gear as well.
So now I know the camera gear, like the back of my hand, so, I know what I can nail. I know what it might be a bit more of a struggle for focusing and things like that, so I'd probably choose not to shoot at those points.
Tom: I was wondering how you were doing it because if you have 12 or 15 minutes, the light is changing all the time. The position is changing all the time, and you only have one lens. So yes, you need a strategy, to shoot first the shots the venue or the band will want, and then go for the other ones.
Richard: Yes. Yeah, yeah, definitely. I get the safe ones in first and then, yeah, switch lenses, change your perspective. I use wide shots sparingly because I think people can get a little bit bored of the wide angle shot. So I use that to create a more dramatic effect. And I rarely use the 70-200mm unless I'm right at the back and you need binoculars to see the band.
Or use people's mobile phones when they've got the phones up recording or taking a photo. I'll take a photo of the photo of the people on stage and things like that. Or if I'm up on like a balcony and there's a nice bird's eye view and things like that.
So I just change it up, but it's just acting very quickly, but with a very calm head. So it's like, I know what's gonna work, what are the band gonna look for, what are the venue gonna look for? And things like that and what we'll possibly sell. It's just being as fast as possible but without rushing and then making mistakes or missing shots.
But, if you do miss shots, then you just have to kind of shrug it off and so I'll nail it next time.
Tom: I say it's a whole other world than landscape photography.
Richard: Yeah. Yeah. When it's sat there in front of you, but you do have to wait for the light.
Tom: Yes. But you have a little bit more time
Richard: Yeah. Yeah, definitely.
Tom: Richard, what's a gig you shot and you remember the most? For any reason.
Richard: Oh, there's a couple really definitely, Meat Puppets was just absolutely incredible. And I've got a shot of just rocking out and him just leaning back, playing the guitar and the look on his face, he was just absolutely loving it.
And so that is special because I'm a massive Nirvana fan. And I remember back in the nineties listening to Nirvana and plugged in New York and hearing Kurt and Chris from Meat Puppets and think, oh wow, you know, and here in Plateau and Lake. And then sending the images off, and Elmo Kirkwood one of the sons absolutely loved the images, and I was a little bit cheeky to him and I was like saying, oh, well since you love the images so much, you know, it was like I've decided that I'm gonna come out and move to America. And he is like, yeah, yeah, good one. He was like, I think Leeds need you, but it's worth a try.
So that was just brilliant because I managed to stay in for the whole show, not photographing for the whole show, but just to sit and listen to the rest of the set. And I stood with the support band Monkey Band, they're called. And when Lake Fires came on and we just looked at one another and this is why we're here, this is just magical. I was like, gutter that I couldn't photograph it. But at the same time, I was able to really properly witness it and. I never thought I'd see them live for a start, let alone be able to photograph them.
So that moment in my music career for sure, something that I'll never forget.
And then the other one is the Sex Pistols experience. That was at the venue Selby that was special in many ways because Johnny Rotter, who was just absolutely incredible, he was great in front of the camera. He well and truly had that character down then those Kid Vicious who'd got these little jumps and stuff like that. And think I said this to you before, but every time when he did one of these little jumps every time I missed it. And it's like really frustrating, but I was like, I'm determined to nail it. But the one of Johnny Rotter, that I got that in the newspaper and that's the one that I won my award for as well in 2019 and 2020 that year. So, yeah, it's so they're two highlights. To actually photograph them, so yeah, that's brilliant.
Tom: Richard, there have been many great music photographers. I can think of Jim Marshall, Annie Leibovitz which I particularly like, Mick Rock or Linda McCarthy even. Did one of them ever inspire you or did you incorporate some aspects of their style into your own work?
Richard: I think for me it was Jim Marshall and just the way that he captured people. He was there with his three Leicas around his neck and he just nailed it every single time. He is like, I dunno how he didn't miss a shot, but he was just unbelievable. And I've looked at some of his negatives in his sheets that he's put up and it's like there wasn't a bad shot there. I just love the atmosphere. I love his photos of Jimi Hendrix or Otis Redding, BB King, quite a few people that he photographed and it's just absolutely phenomenal. And so I kind of particularly like his black tones in his images and in the black and white. So I started to kind of try to emulate some of his stuff.
And there's Mick Rock and he was there with the shot of Queen for Bohemian Raphsody, you know, when they stand tall like, a diamond and black background. And I've tried to make some of my live shots a little bit like that, not in nowhere near of the same league, but to have the background nice and black and then their faces like really well lit. And I've tried to capture some of that in some of my live gigs. Like Dr. Feelgood recently, that was in that style. I had that in my head, to try and capture that, but then obviously you have to wait for the lighting. And there's an element of luck in that, and a little bit of editing.
But so they're the kind of images that I kind of go for, but they are phenomenal. And more recently there's Todd Young who's a USA Nikon Ambassador, I really like his style. I like the color images that he shoots and how he embraces like the red and blue light that you get, which, oh, I absolutely hate. It makes people look like aliens, but that Todd manages that color with the skin tones and everything else. And it kind of made me try and think in a different way to try and make those images in color, whatever the light is and, but make that work, and not look like fake like the person's not human. I've just tried to do that as best as possible.
Then there's Matthias Hombauer, who's no longer doing a professional photography but I followed him for a long time with how to be a rock star photographer. And again, some of his style photography like with Guns and Roses or the Foo Fighters and all kinds of people.
So taken a little bit of everyone and tried to kind of blend it.
Annie Liebovitz she yeah, blows my mind. All like timeless, iconic images and they will stand the test of time, you know, way after those people are gone, people will still be looking at those images and going, wow.
Tom: I think they are like the Ansel Adams for landscape.
Richard: Yes, absolutely. They've certainly done the blueprint. Yeah. And it's just, that'll live on definitely. And there's still galleries showing their work, it's fantastic.
Tom: Richard, you touched the subject of editing. You find it hard to do? It seems a genre, music photography seems a better fit in black and white for the ease of editing than in color, because I can imagine sometimes color is very difficult with the lights, with the clothing, with everything going on.
Richard: Yeah, definitely. I think that was certainly my mindset in my early days, if in doubt convert to black and white. But sometimes black and white doesn't always work, you have to get a really good, strong image with contrast and making sure that textures are bang on with the clothing and, and the face as well.
I really started to try and work hard in color. But like you say, the skin tones, some of the editing can be really, really challenging and that's what why I really tried to up my game on and try and work that bit harder. There's one gig, it was Hands Off Gretel and Lauren Tate, the lead singer, she was there in a yellow T-shirt, bright red hair and bits of yellow in her hair and things like that. So black and white wasn't gonna work for that, so you had to nail her in all the color. And all the interaction with the crowd. She had great facial expressions, so she was a great person to photograph for that. But then it's looking at skin tones and making sure they look natural, and I think that's the hardest bit for me, making skin tones look natural.
Tom: Well, maybe now with all the AI coming out, it'll get a bit more easier.
Richard: Yeah. Yeah. It'll be someone else doing or AI doing it, like click a button job. I was about to say choose software that works for you and something that you understand and know what it does and, and how to do things that you want it to do.
Tom: And you have people who, enjoy a lot editing, and you have people who prefer to shoot the pictures and get editing done quickly.
Richard: Yeah, absolutely. Yeah.
Tom: Rich for, any aspiring music photographer looking to get started in this world, you have like maybe two or three advices you could offer them how to get off the ground?
Richard: Yes, so I'd start off by well first of all, asking friends if they know anyone who's in the band. 'cause I almost guarantee that someone out there listening will know someone who is in the band. They'll maybe say, oh yeah, come down and take a few shots. Do some research, look for your local music venue.
It could be a local pub, bar or even a cafe who have music bands in. Ask them if you're able to come in, take a few shots and gain experience and just being honest about saying that you're just trying to get into it, you're interested.
Offer to put them up on social media and to send them across to the venue so they can use the shots as well. Ask like local music promoters. So again, do some research, see what's going on in your local music scene.
But they don't have to be big people. Even taking your camera out into the street. So if there's someone there with the guitar and the singing, take a few shots of them and I'd say get six, half a dozen really strong images that you can send out to people and just say, this is what I'm doing.
You can put it up on Facebook, X or Instagram, whatever social network you're using. Get people to kind of get eyeballs to your photos and just take things from there. But my experience is that venues and bands really want people down there to take photos. 'cause they absolutely love it. And most of all just enjoy the process, enjoy the doing, and enjoy the photographing and enjoy the journey.
And also if people want to reach out, drop me an email or social media or anything like that, then I'm happy to answer any questions as well or where to go and things like that. So that's not a problem.
Tom: It would be amazing if we could get people who listen now and decide to give it a go.
Richard: Yeah, definitely.
Tom: I think we have covered the main things Richard, what people will want to know . I think we have a lot of material here.
Richard: Fantastic. Excellent.
Tom: So Rich, thanks. It has been a pleasure talking to you and, hearing about your experiences
Richard: Thank you very much. Thanks for having us on. It's been an absolute pleasure.
Tom: And I am sure we are going to hear a lot more from you!
Richard: Oh yes. I'll be posting, don't you worry. So I'll be onto the next level. Rolling Stones. Here I come.
Tom: Exactly. We want to see every step.
Richard: Yeah, so photographing a band next week. So that'll be back in the pit, I'll be posting notes straight away.
Tom: Okay. I'm looking forward to that Richard! Thanks a lot and keep in touch.
Richard: Thank you very much!
Tom: So I think we got another great podcast episode here with Richard, and I'm very thankful for the time he has given me to share his insight and knowledge. Let's hope of course, it serves someone, a beginning rockstar photographer, as an example, and gives it a go. That would be amazing.
Remember all the info about Richard, you can find it back in our show notes.
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I'll leave you today with a quote from the legend music photographer Jim Marshall, who said: "How should I know what I've captured? I was just there and took some photographs. This is all about them. I didn't take pictures to make a statement. I took them to make great photographs."
Now go out, keep shooting pictures, inspire people and move your photography.
See you next week. Bye.