Photographer: Nuno Bernardo
Based in: Barreiro, Portugal
DEAFHEAVEN – 13 May 2012 @ Musicbox, Lisbon
A cool Lisbon night gave me the chance to actually start some dialogue with George Clarke after Russian Circles performance. His great acessibility can’t relate with his presence on stage, though. Leading an entire wolf pack howl on vocals, he did one hell of a frontman while hiding in the dark. He turned out to reveal his feelings and I couldn’t avoid to shoot the key of how unique Deafheaven can be with such physical maneuvres.
Photographer: Luana Magalhães
Based in: Lisboa
Chelsea is so beautiful that she would make for great photos even if she wasn’t playing at all. That’s why I tried to catch a few more relaxed shots of her during this show – right before the start of the concert, in between songs, just catching little details that sometimes pass you by when you’re looking for that one good “publishable” shot. I’m such a huge fan of her music that sometimes it was difficult to not just pack the camera and join the rest of the entranced crowd that filled the room completely.
Photographer: Matthew Grant Anson
Site: Misplaced Lens Cap
Based in: Los Angeles
I chose this as my first photo because it’s from the first show I ever shot. I didn’t know anything about cameras back then, so I just took a camera from my college newspaper and tried explaining what I thought the light would be like to an editor who then set the settings. At the time deafheaven was really smalltime – they were on the verge of hitting it big, but at that moment they were playing to something like eight people on a Sunday at a rinky dink venue in the Valley. I like this picture because it’s at a crossroads for me personally and for the band: me as I’m discovering photography and music photography in particular, and them in that within a year they’d be doing their first European tour and would soon become darlings of the critical underground.
Photographer: Sarah Rosalena Brady
Site: SRB Video Film Photography
Based in: San Francisco
I am strongly influenced by the paradigm of alchemy as a device in art, in particular, the power of altering symbolic language through images. By symbolic language, I mean how a sign functions in the mind of an interpreter to convey a specific meaning in any given situation. Most of my art uses semiotics or symbols to deconstruct their symbolic meaning, conveying a powerful unconscious message to our programmed minds. Ideological rituals and gestures carry much weight and can trigger our cognition to our unconscious and unknown self, most things we can’t comprehend. I guess this is where the afterlife and the supernatural come into play. This photo was taken as a series in 2011 when I went to San Miguel de Allende, Guanajuato, Mexico for Semana Santa. Every day they would parade a certain saint or deity through out the town. It was intense. Old Spanish churches were filled to the ceiling with flowers and sacred herbs. People even dressed as devils at night and whipped you in the street if you’re weren’t home or in church. Semana Santa also is during Spring Solstice. Many indigenous practices came into play around the concepts of birth, motherhood, and fertility. This photo of the Virgin Mary was taken on Holy Saturday before she was paraded in the street. Her religious iconography is cathatic or muti-layered with image of Mexican mother goddess Tonantzin. The water represents the conducting interference between them.
Photographer: Max Hale
Based in: Sydney, Australia
These images have been taken through various venues in Australia over the past four years. In that time, I have been drawn to the dark alternative scene and found my roots in local black metal. There are a lot of great bands and, as a photographer, they appeal due to their presence on-stage. My mission has been to connect with these Australian bands’, and some international ones, in a way that presents the reality of their performances.
Portal, 2010, The Bald Faced Stag, Sydney
I have shot Portal a few times now and they are a treat to shoot because of how they dress and perform on stage. Some people may not think there is much to taking a good gig shot but it is all about the moment. Being so immersed within the music to feel that moment and know when to shoot. This photo was taken when Portal played inSydneyat the start of 2010. The reason I picked this particular photo is the lighting. Given the fact that they were all wearing black robes, I feel it added colour to what was a darkly brilliant performance.
Photographer: Sarja Hasan
Based in: Richmond, VA
This venue is a little more than an hour away from Richmond, VA, where I live, and driving up there was a painful experience. It’s in the weirdest almost strip-mall type environment in what seemed like the middle of nowhere cause we got turned around so many times due to construction and one too many “ROAD CLOSED” signs. Plus, I was the one driving and if you ask anyone that knows me, I get turned around real easily to begin with. Already tired & delirious, “Hey Jack! The ROAD’S CLOSED!” quickly became a hilarious inside joke, which, reiterating now… doesn’t sound too funny at all. But that’s what happens in a car full of girls who have been on the road for over an hour, going to see a band that makes them feel like they’re 15 all over again. Anyhow, the Adicts were definitely worth the hassle. They put on an amazing show & ended with bubbles & beach balls & streamers. There was confetti & glitter all over me by the end of the night & my friends and I somehow ended up being the obnoxious girls on the floor after everyone had started to clear out. Some guy asked to take a picture with me & whoever he was probably still has it on his camera. And, as most obnoxious girls get their way, we ended up hanging out with the Adicts in their tour RV afterwards & drinking their Heinekens while they lounged around in their pajamas.
Photographer: Tanner Douglass
Based in: PA
All these photos are all from the Heartless/Full Of Hell full US Tour…
Somewhere on the highway in Louisiana
We were on our way to the singer of Thou’s house, and we get on the highway and see all this smoke in the distance, but did not think anything of it. As we got closer and closer, the smoke got darker and we saw a car engulfed in flames. It was like we were driving past a movie set or something, we could hear the tires exploding. I read on the news that some car hit them from behind, and sent them flying into the median and they wrapped around the pole. It was a hit and run.
To start, I want to give a big thank you to Earsplit for allowing me access to many of the bands I’ve photographed. Without their help, my body of work would literally be half the size it is now. I also want to thank Cvlt Nation for offering me this space to showcase my work, it means a lot.
I’m going to start by being blunt: I’m not an old or well-worn photographer; if anything I consider myself quite the novice – this is especially true in regards to concert photography. Although I’ve been rigorously studying photography for the past few years, it was only (as of Dec. 2011) six months ago when I first turned my camera toward the stage. In this feature, I’m supposed to show you seven photos that have a great meaning to me, but with so little time behind my belt, it’s hard to choose a set of photos that not only stand out/have a story to me, but work well within a set together.
So that’s what I tried to do. I chose a sampling of photos that, although may not best represent the broad spectrum of my work over the last two and a half years, certainly represents how I typically choose to portray my subjects.
A lot of people in the Seven Stories series have had some interaction with Harassor, and I’m no exception. My first experience ever with this band was Pete Majors calmly walking onto the stage prior to the start of their set, and watching him calmly douse his body with thick blood and enter what I can only describe as a meditative stance that made the viewer contemplate whether Majors had found the spiritual door to hell. Then, as the music began to play, Majors came out of his almost trance-like state quite quickly; but before he rose completely to begin his evocations with his band-mates, I was able to snap this portrait.
Photographer: Carrie Whitney
Based in: Brooklyn, NY
Botch, 12.27.97 RCKNDY Seattle, WA
ENERGY. These guys were always exploding with it. When I listen to Botch this is exactly what I picture. There is so much time between then and now, I’m not sure if this picture looks like how they sound or they sound how this picture looks. Either way, I’m glad I was there to shoot it. Botch opened for Undertow’s reunion show this night. All the bands that played that night (See 6 Murder City Devils) inspired me to move back to Seattle in 1998.