10 things I learned from working in the music industry
I started my work in the music industry when I was 21 - which is nearly 13 years ago. I didn't push my way into the scene for the money, but because I loved the world in which music was conceived. I spent my adolescence and teen years obsessing over the movie Almost Famous. I grew up listening to my mother tell stories about her days as a journalist for LIFE and People Magazine. Glamorous friendships with people like Willie Nelson, Miles Davis, Maya Angelou, Bob Geldoff, the list goes on and on.
I remember swinging on the swing set at preschool, to this day it perplexes me that this memory even exists in my mind, and feeling this deep feeling in my stomach and yearning in my heart to never have a conventional job. It’s weird to know at 4-years-old that you don’t want to sit at a desk all day, but I knew, and I’ve done everything in my power to live an unconventional life.
10 things I’ve learned as a photographer in the music industry
Starting out : you will have to work for free for a little bit. It’s a competitive industry that already has a tendency to pinch pennies. If you don’t have a portfolio, then you will need to put in the sweat equity to build one. Reach out to bands you love, because at least if you’re not getting paid, you’ll enjoy the music.
Starting out: don’t expect to make it overnight, or even in a couple of years. Some people get lucky and get a break into the industry quickly. But for most people it’s a grind, and it’s about building connections. Shoot often. Find your editing and shooting style (it took me 5+ years to even begin to hone in on my style, and it still keeps changing). Be patient, but also be proactive. Gigs rarely, if ever, fall into your lap. Ask for what you want.
Starting out: find the band that isn’t headlining the festival. Once again, it’s rare to get the big gigs when you’re just starting out. Find the up-and-coming bands that don’t have much money to sling around, but will be grateful for photos of their gigs. Look at their tours and what festivals they are playing. See if they can get you into the festival with them and get you a media and AAA badge that’ll get you backstage and able to meet other bands. This whole industry is about networking.
Moving up: Once you build some rapport with a few artists and have established a decent and eclectic portfolio you’re happy with, start charging for your time. Figure out a starting rate - This might be $200 - $300 to cover a live show (I charge anywhere from $450 - $1000 for reference, but I’ve been doing this for over a decade, and I am not the best in the industry.) Once you start charging, only do gigs for free that might truly be advantageous. For instance, after I got my first big tour with Above and Beyond, that gave me some clout to work with when asking other bands like Skrillex, Major Lazer, Odesza and Miguel if I could shoot their show. I had honed in on my style at this point and my portfolio looked pretty cohesive, so when I approached management I looked and felt professional. Photographing these bands beefed up my portfolio, and nobody knew I did those gigs for free. But here I am telling secrets to the one person you don’t tell secrets to ;)
Moving up: Be fucking kind and respectful to everyone. Don’t just be nice to the band you’re working with. Be nice to their team, their manager, their crew, their bus drivers, the security at the venue. If you’re on tour, be nice to the employees that work at the hotel you’re staying at. If you’re shooting in the pit at a festival alongside 30 other hungry photographers, share your vantage point. Move around and get out of the way. You are an extension of the artist who has brought you into the scene, so be kind to everyone, as you never know when you’ll be working with them in a different setting or when they’ll be in a position of power. Your network will be a major part of what dictates your success.
Moving up: Quick turn arounds. Be ready to end your gig at midnight (sometimes much later), hang around for an hour or two and then cull and edit and get your photos (referred to as deliverables) to management that night or by early the next morning. What they are mostly looking for is that hero image they can post on socials and this depends upon you. This is also your opportunity to get that tag, which you should at all times, make sure they give you.
Money: For me, payment and talking rates was one of the most convoluted topics. There is no union or one size fits all payment that people are getting paid in the music photography industry. I’ve been lucky enough to be friends with some incredibly talented and successful and generous photographers that I have consulted on what to charge on gigs. But the truth is that you need to figure out the price range of what you can afford to charge (if you’re traveling for the gig be sure to account for ubers, flights and accom when quoting). If you’re going on a tour ask how much per diem you get each day. Tour rates are typically quoted on a weekly basis. Figure out how many shows they want you on for and if you’ll be covering anything else like press / radio shows etc. If you’re at this stage with a mid-level to bigger band, DO NOT UNDER CHARGE. It is one thing to do things for free when you’re starting out, but there comes a point once you’ve established yourself, where you need to hold strong to a rate that falls within the realm of what other photographers that match your caliber of shooting are charging. This is important as to not undercut your fellow creatives. If you’re making beautiful work and charging much less than others, you’re not only screwing yourself over (because it’s hard work) but you’re screwing over the industry and lowering the expectation of what one should be paid for coverage. I wish I had a graph of what to charge but the truth is there is no going rate. Don’t be afraid to ask your network what they’re charging to find your median rate.
Lifestyle: Ohhhhh the lifestyle. I loved it, until I didn’t. In my 20’s the partying, the travel, the clubs and bars were all very exciting. But then I started to get exhausted when I realized in order to make this a full-time career I was going to have to be on the road a lot more than I already was, and have a jacked up sleep schedule. It was a hard pill to swallow when I realized I’m too sensitive and value rest too much to make this my lifes work. As I climbed the ladder, I saw my fellow photographers and their journey, and I realized this life just wasn’t going to suit me for the amount of money I needed to make to be happy. Some photographers get paid a salary (hell yes!) by an artist that wants to keep them on retainer for the year to make sure they will always be available for tours and shows. But this is rare. Other photographers grind grind grind and are gone every weekend, working Thursday - Monday with very little sleep. Some of them love it. Some of them burn out. The key is to know your disposition. What kind of constitution do you have? I need sleep, or I am a zombie and depressed - hence why I moved away from making music my lifetime goal and now just do it for the love of it. Now when I shoot gigs, I enjoy the hell out of it. I love meeting new people, watching the crowds, and traveling to new cities and countries.
Friendships: This has been the biggest reward of working in the industry. The diverse range of friendships I have made has been the most fulfilling part of this journey. Everyone’s reason for getting into the music industry is personal. Relationships have always been the main focus of my life, and getting to know as many interesting and creative people as possible is one of my favorite past times. I enjoy hearing the stories of how people get started, where they have struggled, and what they have learned. I have become friends with such an eclectic group of people I wouldn’t have otherwise known. Some of these friendships carried me along my music photography career. People who managed bands and made sure I got backstage or into the pit. People who could understand and laugh and lament about the lifestyle and how weird it can be working in the industry. I have loved watching my friends grow in their lives. We all have one thing in common - wanting to live an unconventional life in pursuit of a creative endeavor. Don’t ever underestimate commonality in an industry that can be really challenging at times. Leaning on these friends has kept me going in times of serious doubt. These bonds have reminded me what’s possible and achievable and also helped me make hard decisions like moving away from music as my all-time focus - which, in the end, ended up being the best decision for me. And guess what, the friendships are still there and still strong, even if my presence in the industry isn’t.
Dating: boy oh boy did I learn some hard lessons in this arena when I was getting started. The road and the lifestyle can be pretty magical and pretty intoxicating. I’ve walked into venues or onto buses and thought “nice, I don’t find anyone attractive here, this will be easy” only to have fallen in love with 3 people from tour by the end of my time on the bus. That love ranges in all different types, from deep friendship to thinking someone is a soulmate. I’d be lying if I didn’t tell you that getting involved with an artist or crew member has gotten me in trouble and cost me work. I was young and naive and didn’t fully consider how if (and inevitably when) things fell apart, how that’d affect my relationship with the production and having me back for future gigs. I love, love. I encourage love. But I also caution letting a lustful (often times booze fueled) moment cloud your vision. Getting involved with anyone romantically at work instantly adds a new level of complication to the dynamics. I have met people who have fallen in love in the office, or on the road, and the ones who worked out for the long run were patient and took their time. They assessed the risk of getting involved and made an educated and sober choice to move forward. My rules, after many tests I failed from the universe, are as follows:
If it’s not an honest connection it’s not right. Are you sneaking around and lying to anyone? This is an immediate recipe for disaster. There is a difference to being private vs lying and you know what that looks like.
If it doesn’t work out, what might the consequences be? Assess the worst and best case scenarios. I rarely get involed with artists anymore. For me it’s just not worth any potential weirdness. I have been known to connect with other photo / video crew members, and so far, that hasn’t backfired on me.
Be honest with yourself about your (and their) expectations. Is this a one night thing? Are you on the same page?
I could go on and on and on with stories and lessons and learnings from my time working in the music industry. If you have any questions or curiosities please reach out. Perhaps it could be the topic of a future post!
I’d love to leave you with some photographers I think are absolutely killing it in the music industry right now.
Julian Bajsel - Odesza Tour Photographer
Anna Lee - Currently on tour with Coldplay
Yasi - works regularly with Halsey
xx
J