A collection of interviews with on-the-road music photographers discussing their takes on tour, life parallel to the spotlight, and being the historians of the up-and-comers and stars of the industry.

It was the renowned photographer Linda McCartney, who was the first ever female photographer to shoot a cover of Rolling Stone, who said her work with groups like The Beatles and The Rolling Stones made her feel “like a band member whose chosen instrument was the camera.” It speaks to both the connection between musicians and their photographers and the skill required to deftly capture moments without feeling intrusive or unnatural.

To learn more about how modern-day photographers approach their work, 1883’s EJ Saftner sits down with photographers across the industry to chat about their craft. Featuring interviews with Deanie Chen, Lewis Evans, Maggie Friedman, Abby Waisler, Neil Shukla, Connor Petersen, and Jacq Justice. 

Deanie Chen

Name: Deanie Chen

Hometown: Kansas City, MO

Has worked with: Holly Humberstone, Kaytranada, Jeremy Zucker

Social Media (Instagram): @deaniechen

Tell me about what inspired you to pick up a camera?

I have always been drawn to the visual arts, and after going through a range of different hyperfixations, photography was the one that stuck.  

What is your favourite camera to use, and why? 

I adore my Polaroid Impulse. I got it off eBay – cheap – and I love how simple and non-intimidating of a camera it is. The film revival has been so special to see because it really feels like a cultural reaction to being inundated with overwhelming amounts of content and choice on a daily basis in terms of media, art, music, et cetera. Using a Polaroid is seemingly contrarian to the capitalist sensibility of prioritizing speed and quantity above all else — perhaps why its simplicity is such a source of comfort. 

A concert is – while beautiful – often a wildly chaotic environment. From the lines and crowds of fans, to the hustle of backstage, to the show itself, can you talk about the awareness you have of the room and how the energy impacts your photography? Does it at all? 

The room and music absolutely impact my photos. Something that is partly purposeful, partly just a natural reaction, is trying to capture how the environment and show made me feel, and translating that visually. In journalistic photography, inherent bias is seen as a bad thing, but in my photos I try to lean into that bias — I want my photos to tell a story and I think they are most powerful when I let the energy of the show impact the outcome. 

What was your first impression of tour life, and how has it changed? 

Going on tour was my biggest dream when I started photography. I honestly had no idea what to expect when I went on my first tour… all I knew was I was going to get to take photos every night — as a job. After being on some tours now, I can say that it is challenging, sometimes extremely lonely, and hard work, but it is my favourite thing in the world. Living on a bus, with like 10 other people, living together, working together, and travelling together, takes a certain type of person who is willing to self-select into this lifestyle. It is so special to be a small part of a team that gets to make something real happen every night. 

Photographers are both parallel to the spotlight, while simultaneously fueling the success of an artist. Within the current digital and accessible social media landscape, how do you manage the responsibility and the opportunity of being the historians of the up-and-comers in the industry? 

I think something that I always remember, and something that drew me to photography in the first place, is that the focal point is on the artist, not on the photographer. And I think that’s an incredibly important thing when navigating the music world, from what photos you’re taking to how you’re posting on social media. Put the artist first, because that is part of the job. Beyond that, I just want to make art that makes every person I’ve photographed feel something and feel like I have done so honestly and to the best of my ability. 

What is one memorable – or your favourite – moment from your experiences on tour? 

Some of my favourite experiences on tour have been meeting photographers who have come up to me to tell me that I’ve inspired them to try music photography or that they found out that music photography was a job through me. It is still extremely shocking to me every time, but it really means more to me than I could ever put into words. 

How do you find time in managing your busy schedule with individualized creative pursuits? How does your creative process materialize within your tour photos?

Because I love it, I find ways to make things fit. Oftentimes to the detriment of my sanity and sleep, but to me, it’s worth it. Creatively, I want to constantly be challenged, and thus grow through my art and its development. I think I am still far from reaching my ideal style or quality of work, and I’m unsure if I ever will, but I hope I keep growing and loving the creative process, and I hope that passion comes through in everything I do, whether or not it’s on tour, in the studio, et cetera. 

What is one lesson you’ve learned in your career you would share with aspiring music and tour photographers? 

In the end, being a kind person will take you so far. Your art could be incredible, but if you’re difficult/unpleasant to work with, that will limit you greatly. 

Lewis Evans

Name: Lewis Evans

Hometown: Portsmouth, UK

Has worked with: Inhaler, Arctic Monkeys, Greta Van Fleet

Social Media (Instagram): @lewsvans

Tell me about what inspired you to pick up a camera?

Just being around very talented friends whilst at university and being in awe of what they were making really inspired me to give it a go. I was making some absolutely awful stuff for the first few years, but slowly it started to get a bit better.

What is your favourite camera to use, and why? 

I picked up a Leica Q2 a while back, as I was really struggling to find something for run & gunning tour stuff that didn’t involve lugging around a big camera, or having a smaller point & shoot that wasn’t hitting the spot for me in terms of quality. I’ve been using this non-stop since and have fallen in love with it. I’m a bit of a tech geek when it comes to cameras, so I love to learn a piece of gear inside out when I get it.

A concert is – while beautiful – often a wildly chaotic environment. From the lines and crowds of fans, to the hustle of backstage, to the show itself, can you talk about the awareness you have of the room and how the energy impacts your photography? Does it at all? 

I think more importantly, it’s reacting to how the artist is interpreting that energy from the room. You’re simply just there to capture it, although I’m constantly scanning the room and on the lookout for moments and things happening off the stage that I might find interesting. One benefit of working with an artist long-term is that you’re forced to find new ways to capture the show, and for me finding fan moments or venue details that help to convey the night really adds to documenting the whole experience.

What was your first impression of tour life, and how has it changed? 

Just the excitement of being in a completely new environment, which is very different to any other job, really takes hold of you. I think over time the nostalgia element can fade away, but I enjoy the randomness & the unexpected of every day. I’ve enjoyed hopping around a few artists this year, as it really helps you to experience different ways of touring and get a wider appreciation for how people do things. It’s definitely a lifestyle that can be physically and emotionally draining, so whilst at first you can live off that buzz, you definitely try to develop a way of being kind to yourself when you’re away so much. I think in 2023 I’ll have done 160 shows by the end of the year…and I can definitely feel it!

Photographers are both parallel to the spotlight, while simultaneously fueling the success of an artist. Within the current digital and accessible social media landscape, how do you manage the responsibility and the opportunity of being the historians of the up-and-comers in the industry? 

You’re one small part of many that comes together in terms of what makes an artist successful. It’s just that the outside world, who are not at shows, only really gets to consistently see what you’re doing through social media. It’s definitely a privilege though to get to document artists at work and hopefully, later down the line, your work will stand the test of time. I’m a massive fan of photographers like Jordan Hughes (1975), Joshua Halling (Louis Tomlinson), Pooneh Ghana (everyone), who stay low-key but consistently produce the highest quality work. They really nail the concept of documenting touring artists in all aspects of their lives, not just their shows.

What is one memorable – or your favourite – moment from your experiences on tour? 

I’ve been lucky enough to get to shoot some shows for Arctic Monkeys over the past couple of years. To graft hard for the last six or seven years and for it to culminate in working with one of your favourite artists of all time is pretty fulfilling. Just the personal sense of achievement after knowing the hard work and time you’ve put in makes all the long nights, travelling and shit pay feel worthwhile. Some shows you work you don’t get a chance to really soak in the moment, but I made sure to do it for those!

How do you find time in managing your busy schedule with individualized creative pursuits? How does your creative process materialize within your tour photos?

This is one thing I’ve been really bad at, simply because I haven’t had much time outside of touring to engage with anything else and the time off that I have had, I just want to do nothing. I’ve deliberately given myself the next few months off to have a bit of a mental break, so I’m excited to plan out some ideas, as well as just take some time to take photos for fun, something I’ve never really given myself the opportunity to do.

What is one lesson you’ve learned in your career you would share with aspiring music and tour photographers? 

Just to be resilient in the face of getting knocked back and that your determination will open doors for you… you really do make your own luck. I’ve never been the most technically blessed photographer but I like to pride myself on the fact that I will always be one of the hardest working people in the room. The best way to improve and creatively progress is just to keep shooting and trying new ideas out.

Maggie Friedman

Name: Maggie Friedman

Hometown: New York, NY

Has worked with: Needtobreathe, The Lumineers, The Last Dinner Party

Social Media (Instagram): @maggielndnphoto

Tell me about what inspired you to pick up a camera?

When I was growing up, I was always fascinated with the visuals that went along with music. I went to concerts a lot as a kid, as an outlet, to feel connected to something in my formative years. One day I saw a person taking photos at a concert and something just clicked for me, I can’t explain it. I immediately thought, “that’s a job?” and the rest was history. 

What is your favourite camera to use, and why? 

I have been a Canon user since I started, so for me it’s Canon all the way. I recently switched over to their mirrorless line and got a Canon R5, and I am a big fan. I especially recommend it to people who are also shooting video these days, as it is so incredibly easy to switch modes. I also have been doing a lot of film and that has been a fun medium to experiment in. I constantly want to feel like a student, there’s always something new I could be learning.  

A concert is – while beautiful – often a wildly chaotic environment. From the lines and crowds of fans to the hustle of backstage, to the show itself, can you talk about the awareness you have of the room and how the energy impacts your photography? Does it at all? 

First of all, I love this question. I feel like this is the thing that makes concert photography so special. Creating moments and capturing memories of something that is never to be repeated. It’s that chaos that helps to create the best and most iconic photography in my opinion. I’ve always said I’ve really succeeded in my career if someone can feel like they were there, at the show, when they see my work. The energy is everything. It’s palpable and it is unlike any other feeling in the world. Being in a room full of strangers who all love a band is one of the most joyous gifts in life. On tour some nights, it takes me three hours to fall asleep after I edit because I’m receiving that same energy as the band. On the other hand, capturing the quiet, more intimate memories, and the travel and camaraderie is what makes touring in specific so special. The dichotomy of the chaos to the mundane. Being able to see all of it, everything that makes us all human, is a real gift.

What was your first impression of tour life, and how has it changed? 

When I first started touring, I feel like I didn’t have any of the tools to make it feel like life, if that makes sense. Plus, I think I had a great deal of imposter syndrome that made me feel undeserving of the opportunities that I was afforded. I focused so intensely on just trying to do my job the best I could to prove myself. Losing that feeling comes with growth and confidence. But I feel like as I get older, the things I really appreciate about touring are the relationships with the crew, the hangs, the memories, and the life I live on the road. The relationships you build with the people you are on tour with are truly one of a kind, and that’s what keeps me coming back. Being part of a team that brings live music to people all over the world is a feeling I’ll never stop being thankful for… Along with trying coffee in every corner of the United States, shout out Mad Cap espresso in Grand Rapids, Onyx Coffee roasters in Rogers, AR specifically… and seeing the hilarity that ensues at gas stations across America.  

Photographers are both parallel to the spotlight, while simultaneously fueling the success of an artist. Within the current digital and accessible social media landscape, how do you manage the responsibility and the opportunity of being the historians of the up-and-comers in the industry? 

The access to discovery of artists that end up being huge when they are early on in their career is one of the coolest parts of the job. Seeing Billie Eilish play Bowery Ballroom, a 400 cap room, seeing Yungblud play a bar, and watching artists grow from crowds of tens to thousands, is so awesome to witness. It shows the sheer power of live music, especially in the digital age we are currently in. When an artist is amazing live, it keeps people coming back. Being able to capture the journey is an immense pleasure. There’s a joy in taking photos and having no real idea that down the line, the subject could be a massive star. Which is one of many reasons why supporting our local music scene is so important. Artists don’t grow without support on the ground level. 

I think historian is a good word to use to describe photographers. When we look back at the most iconic music pictures of all time, they are a piece of history. My mind immediately goes to the Morrison Hotel Gallery in NYC, where I frequent once a month or so. Their archives are unlike anything I’ve ever seen. From photos of Queen at Live Aid to contact sheets of Bob Dylan available nowhere else, holding history in your hands in a printed medium is one of the coolest and most timeless things available to do. While social media is king right now, physical media is forever. Which is why I think it’s really important for us to print our work. 

What is one memorable – or your favourite – moment from your experiences on tour? 

There are so many I could choose from.  The first that comes to mind is in 2021. I was wrapping up my first really large-scale tour with NEEDTOBREATHE. I was only contracted for a portion of the tour, but they were playing Bridgestone Arena in Nashville for the first time as one of the last nights, and even though I wasn’t on the tour, they flew me in because they told me they couldn’t imagine celebrating that milestone without me there. Honestly, their guidance, friendship, and support is something I am still constantly grateful for. I will never forget that night. Being on a stage with a band in a full arena that they have worked hard their whole career to be able to play, capturing that joy and energy, was truly one of a kind. I remember being in the green room before we walked to the stage and capturing a portrait. Everyone looked so stressed out. I put the camera down and said, “How about we do this again like we’re about to play an *expletive* arena,” and they responded by yelling with joy. It has become one of my favourite photos I took in our time together. Celebrating the real emotion of a career high, and knowing I was there capturing what mattered to them. At the end of the day, it all boils down to the people. I believed in them and they believed in me. That’s what I’m proudest of in our work together. I feel like the trust and love come through, which is both rare and special. 

How do you find time in managing your busy schedule with individualized creative pursuits? How does your creative process materialize within your tour photos?

If I’m being honest, I feel like managing my schedule is something that is difficult for me. I have been working hard to try to find time for projects that I do for nothing else but the sake of fun. But, I’d be remiss not to talk about how important I’ve found that it is to have a work-life balance. I think this is one of the biggest lessons I’ve learned as I’ve gotten older. Because content creating and being on tour are both jobs that require constant creativity, I’ve learned that taking time to shut off the creative side of my brain, and just be, is equally as important as creating for me. I think it’s important to know you are not a failure, or failing yourself, for taking time to live life. Recharging, being with friends and family, and having balance, help me to be both a better creative and a better version of myself. I take this into every aspect of my process, especially on tour. I find that I am exhilarated by the constant “go” nature of touring and the way I challenge myself to make new and exciting images every night. But, I am equally excited by the travel and days off, and seeing the world. This recharges me to have those long and crazy days while also experiencing what makes being on the road special. 

What is one lesson you’ve learned in your career you would share with aspiring music and tour photographers? 

To anyone reading this, especially young women/non-men, you are worthy of your opportunities, you are there because of your talent and who you are. Feel that. Feel confident, even if you don’t believe it at first, because I promise that confidence will attract people to you and your work. When we believe in ourselves, and we project that to others, that’s power. Also, who you are is what makes your work special. Your experiences in life and thoughts and feelings help determine your art. Everyone’s eye is different for a reason. You don’t have to change who you are. In fact, in music and touring, authenticity is celebrated. Oh, and there’s room for everyone in this community. Helping others will not make it harder for you to succeed. In fact, it’s the opposite. Looking out for your fellow creatives goes a long way. Those are the people whose back you want to have, and they’ll have yours right back.

Abby Waisler

Name: Abby Waisler

Hometown: Los Angeles, CA

Has worked with: Gracie Abrams, Laufey, Alix Page

Social Media (Instagram): @abbywaisler

Tell me about what inspired you to pick up a camera?

I was blessed to be a preteen in the height of Rookie Mag’s success and the work that came out of that era most definitely was the driving factor for my curiosity of photography. Photographers like Lauren Tepfer, Petra Collins, Alia Wilhelm, and Savana Ogburn made photography look so fun, and I was so excited at the possibility of maybe being able to do something like them one day. 

What is your favourite camera to use, and why? 

I bought a Polaroid Sun600 at a flea market in LA when I was 14 or 15, and to this day, [it] is my favourite camera to shoot with. It’s lightweight, the flash warms up quickly, and it’s battery-less so it’s always ready when I need it. And it definitely holds some nostalgia, being so central to my development in photography through the past couple years. 

A concert is – while beautiful – often a wildly chaotic environment. From the lines and crowds of fans to the hustle of backstage, to the show itself, can you talk about the awareness you have of the room and how the energy impacts your photography? Does it at all? 

The energy most definitely affects what the takeaway from the show is. I find myself gravitating towards the fans, which most often correlates with the happy chaos that is really fun to capture. I really agree with what has been said a million times, live music really brings people together in a way that very few other organized events are able to, so I think trying to photograph the joy and chaos that comes from togetherness is always a goal of mine. When working in a venue that has a pit, it gives me the opportunity to photograph the artist in a way that is more intimate between me and them, but in venues when there might be restricted access near the stage or no barricade, getting forced into the crowd really emphasizes that feeling of being around other people, which I love to take photos of. 

What was your first impression of tour life, and how has it changed? 

Touring for me was an extremely intimidating lifestyle to dive into, especially with media like Almost Famous, which through glamorization shows you what day-to-day life on tour must be like. I’ve been really lucky to often get to work with people that I’m really close with and consider some of my dearest friends, which definitely mitigates some pressure on the social aspect. But to answer the question, I think I expected touring to be almost grandiosely fabulous and glitzy, when in my experience (in my very lucky, special experience) it’s been a lot of spending time with people you love who are incredibly hard-working at their jobs, drinking a lot of tea, and making turkey sandwiches on the bus at 2 a.m.

Photographers are both parallel to the spotlight, while simultaneously fueling the success of an artist. Within the current digital and accessible social media landscape, how do you manage the responsibility and the opportunity of being the historians of the up-and-comers in the industry? 

I love this question. I often find myself balancing this in my own head because it is truly unique what we get to do – on one hand, traditionally, a photographer’s sole purpose was to document the artist, and to melt into the background memory of a concert-goer’s experience. I find that social media has given almost a sense of autonomy to photographers to change their role, from previously someone who might have been overlooked, to a person who is a memorable part of the concert experience, which I think is pretty cool. It definitely adds a bit of pressure onto work, though. I find that many people are using social media accounts… their own and others, and Instagram in particular… as scrapbook pages full of memories from moments that are sacred to them. So when I’m editing at the end of the night, there’s definitely a voice in my head that’s saying, “Don’t let the fans down,” because my goal is to capture and deliver what it feels like to have been at a show.

What is one memorable – or your favourite – moment from your experiences on tour? 

Oh man. This past fall I got to work on the Good Riddance EU/UK tour with my favourite human in the whole world, who is also my best friend and cousin, Gracie Abrams. We had an off-day in Amsterdam, and to summarize so I don’t go into lengths about this day, we went on a bottomless wine canal tour…. and had a very good time.

How do you find time to manage your busy schedule with individualized creative pursuits? How does your creative process materialize within your tour photos?

On tour, I find it really hard to balance work and taking care of myself. So when I can, I try to fit my personal projects into the “taking care of myself” category. This last fall I got really into scrapbooking, which made me search for bits and pieces while travelling, a practice I’d never really done in the past. Creative process-wise, every night I challenge myself to take at least one shot that feels completely different from any other angle I have tried before. For the first couple nights of the tour it’s a really fun game, but very quickly becomes a pretty demanding project. 

What is one lesson you’ve learned in your career you would share with aspiring music and tour photographers? 

I am very, very early in my career, so I don’t want to be going around acting like I have bottomless advice to give, because God knows I don’t. But one thing that I find photographers that I look up to are really good at is breaking the rules. So I guess my advice would be if you think you’re gonna get in trouble for trying the shot, try it, and ask for forgiveness later.

Neil Shukla

Name: Neil Shukla

Hometown: Nashville, TN

Has worked with: Annie DiRusso, Briston Maroney, Sun Room

Social Media (Instagram): @neilshuk

Tell me about what inspired you to pick up a camera?

Growing up, my pops was always taking really painful vacation photos. At some point, the father-son rivalry came to a head, and I decided I’d be the family photographer… and the rest is history!

What is your favourite camera to use, and why? 

Neil: While it’s a motion camera, the HVX200 was my first and continues to be my main cam. I love pulling stills from tape, the motion blur, and artifacting create the abstraction I’m always looking for. 

A concert is – while beautiful – often a wildly chaotic environment. From the lines and crowds of fans, to the hustle of backstage, to the show itself, can you talk about the awareness you have of the room and how the energy impacts your photography? Does it at all? 

I weigh toward documenting the occasion rather than glam shots of my artist. So, energy is everything, even the lack of it. The tougher shows force you to dig in and find the story, whether it’s in the line outside the venue or the half-buried fan freaking out over a deep cut.

What was your first impression of tour life, and how has it changed? 

It first felt like being on a pirate ship with a pirate gang. Roughing it with your friends and scraping together a memorable day in an alien city, and then casually throwing the biggest party in town that night. As you move up in production and audiences, that focus really starts to shift away from the travel and the adventure, and more toward putting on a complex show. Nothing I’m necessarily upset about, but something I do crave from scrappy van tours constantly.

Photographers are both parallel to the spotlight, while simultaneously fueling the success of an artist. Within the current digital and accessible social media landscape, how do you manage the responsibility and the opportunity of being the historians of the up-and-comers in the industry? 

My focus is more archival. What I capture is the historical record of these fleeting and intimate moments of another artist’s journey. If that can also be repurposed as promo or content, that’s wonderful. But these photos are taken for the future, so that these memories can be told again, forever.

What is one memorable – or your favourite – moment from your experiences on tour? 

On an all-day drive from Denver to Phoenix, the Annie Dirusso gang celebrated my birthday by hiding a six-pack of Smirnoff Ices all over the van… with some increasingly creative ways of getting me to ice myself.

How do you find time in managing your busy schedule with individualized creative pursuits? How does your creative process materialize within your tour photos?

I don’t! When you are on tour – it’s time to be on tour – to be present. I’ve regretted every single second I spent on the road working on anything other than living and breathing the tour. It’s tough when you have your own pursuits but touring is one of the greatest experiences you’ll ever have. [You] might as well soak it up while you can.

What is one lesson you’ve learned in your career you would share with aspiring music and tour photographers? 

Your personality is the only thing. It’s really not about the photos, the edits, or the gear at the end of the day, it’s the hang. No one in this era of touring is looking for the most talented and equipped photographer, they’re looking for another person to join and represent their pirate crew. Someone who can capture a decisive moment and possess the nuance to just enjoy the others. 

Connor Petersen

Name: Connor Petersen

Hometown: Nashville, TN

Has worked with: Stephen Sanchez, Gracie Abrams, Greta Van Fleet

Social Media (Instagram): @connr0

Tell me about what inspired you to pick up a camera?

One of my best friends, Jack, really was the one who inspired me to pick up a camera for the first time. He got me into YouTubers like Casey Neistat and Sam Kolder, and that made me want to shoot photos and videos.

What is your favourite camera to use, and why? 

My favourite camera to use would probably be the Contax TVS II. It’s a small titanium point-and-shoot that fits in my pocket and has an amazing lens for such a small camera. I was able to shoot Trippie Redd, Gracie Abrams, Role Model, and a lot more with just that camera because I can bring it in when I don’t have a photo pass.

A concert is – while beautiful – often a wildly chaotic environment. From the lines and crowds of fans to the hustle of backstage, to the show itself, can you talk about the awareness you have of the room and how the energy impacts your photography? Does it at all? 

That is a beautiful question, wow. Yeah, I mean the energy absolutely affects the photos I take… but I think it makes it easier and more fun, especially with being on the road with all my friends on the Stephen Sanchez tour. We definitely have a lot of fun in the green room before shows, so there’s a lot to capture and it makes my job easy.

What was your first impression of tour life, and how has it changed? 

My first impression of the tour involved hoping in a 15-passenger van with the Secondhand Sound boys and driving 24 hours across the country to make it to the first show. It was definitely a small tour for those boys to build a fan base around the country and we did some small rooms but I made some amazing photos and memories with those guys. I think it was exactly the correct way to start my touring career… shoutout to those boys for giving me my first chance. I think it’s changed a lot because I’ve done several different levels of touring now. I mean, we have a full tour bus with Stephen, so it’s so wildly different in the way we rest and eat and stuff like that, but I love touring so much. I did then and I still do.

Photographers are both parallel to the spotlight, while simultaneously fueling the success of an artist. Within the current digital and accessible social media landscape, how do you manage the responsibility and the opportunity of being the historians of the up-and-comers in the industry? 

Goodness gracious. I mean I definitely take the historian part very seriously, especially with these artists and bands that I really care about like Stephen Sanchez. I truly think he’s going to be a massive star and I definitely document him as if it will all be a part of a huge documentary one day. While still doing the social media side of it, which I definitely enjoy less. In a perfect world, I would only shoot film and we would release it whenever we wanted, but thats not how this industry works really.

What is one memorable – or your favourite – moment from your experiences on tour? 

There’s been a ton of amazing moments on tour, but I think the one that’s probably at the top would be when Elton John came into the green room in LA after Stephen’s show and talked to him about performing with him at Glastonbury. He was so nice to all of us, I was sitting right across from them filming the whole thing and it felt like I was witnessing a really historic moment.

How do you find time in managing your busy schedule with individualized creative pursuits? How does your creative process materialize within your tour photos?

I mean, my main creative pursuits are ideas for tour so it’s pretty easy in that way, but I definitely would like to shoot more studio work in the future. I just haven’t had the time or true resources to learn that style yet, but it’s definitely something I would love to do more next year. I was actually just talking to my buddy Jesse about that the other day. Most of the photos I save to my folders on Instagram are creative studio shoots that inspire me.

What is one lesson you’ve learned in your career you would share with aspiring music and tour photographers? 

Just do your research, learn about cameras, learn about settings, learn about the history of music and photography together… and it will make you better so quickly.

Jacq Justice

Name: Jacq Justice

Hometown: Norfolk, VA

Has worked with: half•alive, Samia, Liza Anne

Social Media (Instagram): @jacq_justice

Tell me about what inspired you to pick up a camera?

My parents are big music fans, and my dad shoots a lot of the local shows in the area. It was probably eleventh grade when my dad let me use one of his cameras and got us both photo passes to a show at the Norva in my hometown, where I actually just went to again for the first time on tour with the Brook and the Bluff. I think photography may be in my DNA a bit, but it probably wasn’t until years later that I felt I found my own voice in it. 

What is your favourite camera to use, and why? 

I’m not a super gear-oriented person, but I always love shooting on medium-format cameras. I think the limited number of shots really force you to be a perfectionist and focus on the framing. I try to apply that mindset to shooting digital photos as well, but there’s something about medium format that it feels impossible for me to have the same feeling when shooting on anything else. On my Mamiya, the viewfinder is so large that I think it also gives me a better idea of what the photo will look like. The process of not having to hold the viewfinder up to my eye, but looking down at it from a foot above removes me from feeling like the camera is attached to me and gives me more space to conceptualize and let the camera be a tool to facilitate whatever idea I have. 

A concert is – while beautiful – often a wildly chaotic environment. From the lines and crowds of fans to the hustle of backstage, to the show itself, can you talk about the awareness you have of the room and how the energy impacts your photography? Does it at all? 

The energy of the room is massive to me. I think photographers often feel similarly to the artist in this sense. I’ve shot shows that just feel a little off and it’s hard to put my finger on exactly where that feeling is coming from. The band, crew, and I often talk about this after the shows, and there are so many factors that affect this. When the people in the front row are low energy, it changes the vibe of the whole room. Honestly, whenever it seems like the crowd isn’t having fun, it makes it less fun for me. The difference of a crowd that’s super engaged and excited to be there is so palpable. Sometimes my favorite photos don’t come from my favorite shows… the feel of the room is everything to me. 

What was your first impression of tour life, and how has it changed? 

At first, it definitely felt like summer camp. I was so young and excited to be inundated into an entirely new world. I remember feeling like I could do this forever and couldn’t understand why people didn’t feel the same as me. I think as I’ve gotten older, my relationships are stronger, my routine is more important, and maintaining those on tour has become harder. I love the people I tour with, but I’m less eager to abandon everyone I’m close to at home. It’s a really fine balance of wanting to stay present where you are physically, but also not wanting to fall off the map for the people you’ve left behind. I also think early touring was seeing new cities constantly. I was leaving the venue and riding ferris wheels, taking ferries, scootering through parks, et cetera. I still do some of that, but nowadays, my priority is getting enough sleep, getting my work done, giving my body and mind time to rest, and checking in with the people I care about.

Photographers are both parallel to the spotlight, while simultaneously fueling the success of an artist. Within the current digital and accessible social media landscape, how do you manage the responsibility and the opportunity of being the historians of the up-and-comers in the industry? 

I think it feels less like a responsibility if you’re working with people who feel more like collaborating rather than working for them. My favourite work is always with friends, where I feel like our visions sync in a way that it feels like a fleeting moment of shared consciousness. What I find to be the benefit of technology and social media now, is that everyone in the crowd is taking photos and videos. There are rarely moments that are missed, that no one captures. This takes some of the pressure off of me to capture everything and allows me to focus more on interesting angles or small special moments that are less readily perceptible.

What is one memorable – or your favourite – moment from your experiences on tour? 

On the most recent Liza Anne tour, they were opening for Pussy Riot and the first show was at a beautiful theatre in Montreal. It was just me, Liza, and their partner, Paloma. We genuinely had no idea what to expect from the Pussy Riot set but decided we wanted to watch the whole thing the first night. The show we experienced blew my mind and changed the way I think about the world and touring and the music industry. Their set is performance art reflecting on their experiences with being imprisoned for their art in Russia and how they’ve persisted, because they feel the message they’re sharing is too important to stay quiet on. I’m so used to being at shows centred around if there are agents there and how many tickets were sold and all of these things that are important for artists, but distract from why any of us do this in the first place. Their show felt so removed from their egos. It wasn’t about them as individuals in the slightest.

It was educational and inspiring to watch women fighting for not only their rights but the rights of everyone in the country they’re from. It made me think a lot about the idea of having a platform and what you do with it. I think a lot of people have a hard time navigating that right now, but watching them unapologetically demand attention and anger towards the injustice of their government made it feel quite simple to me. The root need for art in my mind is a reflection of the human condition at the time, and they do this in such a pure way. Being able to debrief this with Liza and Paloma after the show paved the framework for me on how I want to operate going forward. I don’t want to shy away from controversial topics. I want to use whatever platform I have to enact change and inform. I don’t think anyone’s art has to be inherently political in nature to do this either. 

How do you find time in managing your busy schedule with individualized creative pursuits? How does your creative process materialize within your tour photos?

It’s hard! I’ve done so many Zoom calls and written so many treatments for music videos on tour. My schedule often overlaps in a way that I have to start prepping for jobs that will shoot right after the tour ends. Honestly, not having as many social opportunities as I would at home is probably good for me to just put my head down and work. Also, I’m always in a bus or van with other creative people who are nice to bounce ideas off of. The idea of creativity in tour photos is constantly evolving for me and is different every time. I typically start out a tour trying to find a way that I can make it feel different from all the other tours. This isn’t something I can really plan ahead of time, but rather have to just live the experience and find what feels new to me within it. 

What is one lesson you’ve learned in your career you would share with aspiring music and tour photographers? 

Ask for what you’re worth! Tour always ends up being more work than I expect it to be. If I’m not making enough money to feel comfortable, I’ll become bitter and resentful and that’s not good for anyone. I think just transparency about expectations and what you need goes a long way. Conversely, when you’re starting out, the word ‘yes’ is your key to experience, and working hard for projects and people you care about is what makes it all worth it. Respect your capacity, but give as much as you can! 

Interviews EJ Saftner

Header image: Deanie Chen