Don't you point that thing at me #7 : Sam Frank Wood

Catch that moment... sometimes under exacting circumstances

St Vincent at Birmingham Institute  

There's a pic on facebook about how crazy musicians are to put their five grand instruments into a car worth maybe five hundred, and drive a hundred miles for a fifty quid gig. They're not alone - decent cameras don't come cheap, and yet we often see two or three snappers at gigs, all with seriously costly kit, looking to capture something worthwhile - which they might not even get paid for. At least I can bash this stuff out on a three hundred quid laptop, or do my radio stuff on kit which hardly cost me anything. But musos and snappers? Mostly, they fork out a lot. But they clearly love it all, the same way all the people in a local scene do.

Hold on to those band snaps! In 50 years you could be sitting on a gold mine.

Don't you point that thing at me, pal... Number 6: Jim Simpson

You can cover an awful lot of ground in the music biz if you stick at it. Now probably best known for running Birmingham International Jazz Festival, as a young sixties groover Jim Simpson was eking out a living as a semi-pro trumpet player, a band manager (Locomotive, Black Sabbath, and others)... and, significantly, as a part time snapper, selling photos wherever he could.

All this was long before the advent of digital. Jim worked with a lovely professional twin-lens reflex camera, very similar to the one here. I had a very cheap version of Jim's pro kit back in the day, and I absolutely loved it. Twin lens machines used conventional film, in the now very rare format: 120. This usually means square negatives, 56 millimetres along each edge: vastly larger that the smaller and faster 35 millimetre format. 

The downside? A larger, heavier, much more unwieldy camera, into which you normally squinted downwards, rather than at the subject, to compose and focus. More often that not, you had to work with a degree of formality. These weren't machines that let you grab images on the fly. And as we've already seen with Pogus Caesar, you could only fire off 12 shots before you had to change the film.So you took more care over your precious limited set of images. The upside was super image quality, which then meant terrific enlargements.

Jim shot a lot of stuff, half a century back. Some of his best images are now on show at Havill and Travis, a new gallery in Harborne, South Birmingham. The gallery is a joint venture between Gerv Havill of Moseley Folk fame, and Dave Travis, also a photographer and onetime promoter. 

At the preview, Jim was happily running though old memories.

I had no idea until I knew of the exhibition that you ware also a pro photographer. 

Yes it kept me alive. I went seriously into it at a rather stupid point when I should have been paying more attention to Black Sabbath, who I was managing then. 

You mean you didn't take any shots of the band in their extreme youth? 

Only about six shots in all the years I was with them. A bit of an omission. 

Here's the Move in 1965... fresh-faced boys.

Trevor Burton, Roy Wood, Bev Bevan, Carl Wayne and Ace Kefford. In a field. In the cold. 

I thought Roy Wood's fringe was a hat, actually. A hat made of hair. That was the first publicity session they had. It was very early in the morning, and it was very cold. They're all wearing college scarves. I don't think they went anywhere near a college. Bev (Bevan)used to drive past a college on his way to work. 

Let's move on to the Moodies...

Ah. That was at the Carlton Club in Erdington. It eventually became Mother's, of course. 

Named after the brewery, weren't they? The Mitchells and Butler 5, or the M&B 5, I understand.

Yes. 

This really was the band that became the Moody Blues. This really was the club that became Mothers. 

I was in London then, and the first thing I heard from them was their cover single of Bessie Banks' Go Now...

Well, they were an R&B outfit. This line-up, they all came from major bands in Brum at the time, except for the drummer, who managed them. The guys who owned the Carlton Club got behind them, so they could be put before the Friday night crowds there. They were a major local draw, very early on. The sad thing is that the bass player in the picture, Clint Warwick – that was a stage name – after a couple of years, he thought 'I don't Like This', and he left the band, went back home to Aston and became a carpenter.

So here's a piece of history... the young Spencer Davis Group looking very chipper and cheerful, on the central divider of Smallbrook Queensway.

And the magazine they're holding, Midlands Beat. I used to take photographs for it. And write a news column, for twelve pounds a month. Look at the cars – very vintage. And look how few of them there are in the picture. 

Steve and Muff Winwood, Pete York and Spencer Davis. Just down the road from their Golden Eagle residency

You sat them in the middle of Smallbrook Queensway for a photoshoot?

We weren't exactly taking a risk, were we? Look at the traffic - it was a bit different. Steve (Winwood) was sixteen, I think.

So that's the local boys. Of the rest – shots of Mick Jagger, Nina Simone, Little Richard – what are you proudest of?

Howling Wolf. 

He was a very interesting man. On stage, he could rock a room into bad health without any effort, At the same time, he scared audiences. He was a terrifying presence. Six foot four, 350 pounds. But talk to him, and he was so gentle and mild. He told me a lot about himself and his life. He told me he couldn't read and write until his forties. The he went back to school and college. He was also very proud to tell me that when he first went to Chicago, he was recording – I think – for Sam Phillips in Memphis. Chess called him and he went up, but as he said, all the old blues guys went up to Chicago with the insides of their pockets hanging out. He went up in his own car, with 4000 bucks. In those days, a massive sum. 

Jim, these shots from your twin lens reflex have come up beautifully. Have you had to do any kind of retouching work?

Very little. We tried in most cases to print from the negative. There's a couple we've had to adjust slightly. No much burning in or dodging. I'm digitised now, and I don't really like it. I love the flexibility - 20 or 25 shots without even thinking about it. In those days, with 12 shots a roll, and the fuss of changing the rolls over, you made sure each negative counted. 

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Don't you point that thing at me, pal #5: Wayne Fox

“At the end of a performance, there's probably ten or fifteen seconds, the golden time – that's the best time for a photographer to get their shot in.”

Photo by Bianca Barrett  

A posse of snappers? A clutch of smudges? 

Moseley Folk, Friday afternoon. Wayne Fox comes barrelling down the hill, loaded down with kit, firing off shots of me and Richard Shakespeare having a natter. Between the three of us, there must have been close on a five figure sum's worth of Canon camera goodness. Me, I was packing a three year old Ixus - probably worth 40 quid tops. I know my place.

We have a rich crop of snapper talent in the region. Wayne's been shooting with the best of them for some years now. Running though the costs music snappers have to fork out, and the competition they face, I'm amazed. 

This post isn't about music; it's about musicians and the people who take an interest in them, visually and personally. Snappers deploy different skills, but the challenges and the risks are the same. 

Wayne Fox: I didn't really start intentionally. I was indirectly connected with the music industry, and I'd shot a few sessions, round about 2007 I think. People kept saying nice things, so I made the decision to step up a level. I decided to save up over a year, to see if I could afford a (decent) camera. 

Decent kit is, still, hellishly expensive. You knew exactly what camera, what model...? 

I went for Canon. My father had a range of brands – some of those weird eastern European makes. They smelled great!

I had a Halina...

Yes, that's the general area! But I went for Canon. Lots of buttons! But really, it was about being around music. And a lot of local promoters, like Carlo Solazzo, were very helpful in letting me get started. 

  Free School, 2012

What about your first shoot?

The first one that I felt I had enough skills, that I was pleased with, was the LaRoux gig at the Rainbow warehouse. She was on a crest of a wave at the time. It was quite dark, and I think I went home with about 400 photographs. Loved every minute of it. And obviously I've adjusted the shots since then. 

LaRoux - Wayne's most-copied from Flickr

That's a bit like collecting too much interview audio. You've got to think how much edit time you're letting yourself in for.

I've cut down a lot. Each shot takes me a lot of time, when I get it home and look at it with image editing software.

That's digital for you. And a world away from what Pogus Caesar does with his old-school film cameras. Festivals generally have a very relaxed vibe; lots of room for you guys. Surely it;s not always that way?

No. Etiquette is almost unspoken, though. You don't throw yourself about if you're in the pit; somebody will have word with you if you do. I try and keep as low as I can, in the pit, and that gives me a certain style. Others stand bolt upright. There are things you just learn. Sometimes, people are kind enough to tell you. And in very crowded situations, you don't obstruct the paying customers if at all possible. 

Violet at the Flapper, 2011

Wayne explains: 

This poor guy in Violet had an accident on-stage at The Flapper and Firkin, when his guitarist smashed his guitar neck into the guys face. Ouch!


What do you try to capture? Emotions? A startling composition?

When I started, because I wasn't producing for any form of editorial, it was definitely, definitely from the artistic point of view. I'd make sure there was space, just to make you wonder when you looked at the photograph. Now, I'm filling the frame a bit more. But I like to put the artist in a sea of nothingness. Those are the ones that get talked about. 

First sale?

Ninety percent of the things I've sold have been to parents of the acts! The very first one was to a very nice lady who wanted a photo of her son playing the guitar. She'd bought the guitar – a beautiful blue guitar, it came out very nicely, perfectly lit and exposed, I was lucky – she didn't really care that her son was in the photograph. She really cared about the guitar!

Toy Hearts, 2011  

You do something because you love it, and you're really passionate about it. It's the same as with musicians. Then at some point the possibility of making some money arises. How do you transition to that?

It's difficult. I don't really get involved with sales. It's a time-honoured thing: anybody who's creative struggles with seeing that there's something you can monetise. And it's a reflection of your soul, at the end of the day. You don't rally want to charge for it, but – you have to, you have to. I didn't mean to spend so much money on equipment, but I have. I'd love to give away everything that I've done, but it's not going to be possible.

Crystal Castles, 2011   

The web has produced an economy where people are expected to give everything away for free.

I contribute a lot to a site called Gig Junkies. They used to be very West Midlands-oriented, now they're National. Have done for years. And that's for free. 

But following the music analogy, does the exposure that you get lead to commissions and other paid work?

I guess it does. A lot of people get in touch with me and name-check Gig Junkies.

Is it easy to name a price?

No! Not at all. Trying to strike the balance is really tricky. 

The web puts a downward price pressure on so many freelances and creative people; there's no regulation and there's always someone who'll work cheaper. 

At least I have a massive back catalogue of material now! But yes, in the photography community, you do notice people wandering into gigs, gigs with a very restrictive policy, that there a people with iPhones in the pit. It doesn't really bother me, but if a professional has been excluded – or one of his mates – and there's someone with an iPhone in the pit, it can get awkward. 

Tip and tricks?

At the end of a performance, there's probably ten or fifteen seconds, the golden time – that's the best time for a photographer to get their shot in. Often, they've given of themselves, they're spent. Sometimes they're quite vulnerable, and surprised by the response they get. And that's difficult for me; I love being where I am. It's quite a privilege. I've probably put my camera down, and I'm applauding too!

Boat to Row   

Favourite bands?

I like local bands, who I know: Boat To Row (shown at left), Goodnight Lenin...

Yes. Young, photogenic, very good looking, and talented. I hate them all. But good looking - or interesting looking - must really help from the snapper's point of view.

It does. I really like Free School and Victories at Sea – lovely looking guys, and they generate an amazing sound. I took in their first gig, and they sounded good then. But supporting the Editors – it was like someone had flicked a hundred switches. 

Links
Wayne's flickr stream
Wayne Fox Photography
Gig Junkies

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Don't you point that thing at me, pal #4: Steve Gerrard @ Brumlive

It's not all about spraying and praying... there's detail, there's action, there's a story 

I don't write gig reviews. There are excellent West Midlands sites that do; you'll find links to several down the right of this page.

One of these sites is Brum Live, run by Steve Gerrard the long-established music photographer. Brum Live exists partly to be a platform for new photographers and writers. If that interests you, there's an email address at the bottom of this post.

Steve is a details guy. Just look at this shot. He's done tons of big names, lots of local guys, and he still prefers smaller gigs. It's all about the gig, the musicians, the crowd, the interaction... the action. All shots are reproduced here by kind permission. 

Don't You Point That Thing At Me Pal! #3: Ian Dunn talks music photography

Erica Knockalls, Wonderstuff, 2012

In the third of this blog's snappers stories, Ian Dunn talks about the ins and outs of kit, his love of music, moshpit etiquette, favourite venues and more.

Ian Dunn runs Principle Photography. He's one of maybe half a dozen local snappers you'll see regularly hoovering up images at venues around the Midlands and beyond. And like many of his peers, he has a passion for music and the scene that supports it, as you'll see if you read down the page.

But you may not see him at all. Ian works very unobtrusively. Gets in, gets the shots, gets out. He's a stickler for that definite and precise code of collaboration that he and others observe as they go about their business.

Even if you haven't seen him at work, you'll most likely have seen the results of his work. If you're at all interested in local music, his site is worth a visit.

We met up for this blog piece a few weeks back. And, as you'd expect from a rock snapper, we kicked off talking about... Opera.

35 years of snapping: Pogus Caesar

Photo by Dee Johnson, 2011

Take a shot of something that interests you; a subject that you care about; something that matters. Hold on to it. Then, come back to it in ten, twenty, or thirty years. It's amazing what perspective that can bring.  

That's what Pogus Caesar does. I’ve known Pogus for ages. Lots of people around music in Brum have. He’s done lots - radio, television, painting, documentation, books, multimedia projects - across tons of areas. 

In  April of this year, the British Museum acquired four of his photos of the 1985 Handsworth Riots for their permanent collection. If you want the full details, check him out on Wikipedia. It’s a long entry.

We’re talking photography, and for this blog especially, photography that deals with the musicians in this town. You've built up a huge body of work going back well over thirty years. Was that planned in any way?

"I started off as a pointillist painter, making images with tiny dots, my major influence was the French painter Georges Seurat… and I wound up taking photographs without any real view of how these might become relevant in years to come. It was important to just document."

What sort of kit did you start out with?

"My first camera was a Kodak Instamatic, a very basic film camera, where the 110 film was loaded into cartridges which made it easier to handle." 

Youthful digital-only snappers can read up about this archaic system here

"Later on I upgraded to 35mm; I got a Canon Autofocus, which I still use today. And this is it: this is the camera used for all the images that you’re using here. "3

So we’re not talking about ten grands’ worth of kit, are we?

"No, the Canon is small, fast and effective and suits my way of working – and when one breaks, I go on eBay and get another – usually for under six pounds. I call it my poor man’s Leica. On my travels, people have tried to snatch it, because they think it’s digital. I’ve said ‘give me the film first, and you can have the camera’. The film is more expensive than the camera! So I don't really want to know about  hi-tech digital systems…"

You’re not that guy

"No. And I use film, so I only have 36 shots, I really love the grainy quality of black and white print. The downside is I can’t instantly view what I've shot -  then I have to wait for the film to be developed…but that's the magic and the mystery of film."

Pauline Black, Selecter, 2011

I often think photographers who work with huge memory chips in their cameras can afford to wait that extra moment, and squeeze off hundreds of shots, to push a few more seconds, just to get that extra moment. You can’t do that. So do you have a mindset when you’re working?

"Funny you should say that. There are times when I'm approaching a situation and I'll already have a tiny idea of what the image will be, formed in my mind. But life is funny and sometimes it doesn’t work out. I’ve only got a limited amount of people’s time, and I can only afford to take a couple of photographs and then move on. But because the camera’s so noisy and small, a lot of people don’t take it seriously, which is fine by me."

Mykaell Riley, Steel Pulse founder member, 1987

"The film that I use gives the photographs texture and grain, which I’ve always enjoyed. When you look at the work of photographers who influenced me, Dianne Arbus, Gordon Parks and Cartier-Bresson – under the conditions that they had to work under – the huge distances they had to travel, using the most basic of equipment, and their legacy - the work you can now find on the internet and marvel at … so it helps with my mindset. I can’t waste any shots, and I can’t delete. With digital, you can throw shots away instantly."

Sometimes, in retrospect, for the wrong reasons?

"Yes. I just don’t enjoy that element… yet."

Ruby Turner, Reggae Sunsplash, London, 1987

Many digital photographers do a lot of post-production work, treating the shots by softening the focus, or darkening the background, or tweaking the colour balance. All you can do - if you want to – is do a bit of analogue tweaking in the darkroom. I seem to remember the expression of dodging something out when enlarging a shot…

"Actually, that’s where Photoshop can come in useful! With film, you can get scratches on your negatives. So you can use it to take scratches out and highlight when needed." 

Andy Hamilton, 1987

So all you would do is to restore?

"What you see is what you’ve got. You can darken or lighten, but you’re dealing with images, vintage negatives. There are people I work with who demand that archival element that’s embedded in 35mm negatives."

Most of the photos – not all - in this blog post are about music: Birmingham musicians, and huge musicians, and major black artists, the big names who visited to our town. 

"They were in an exhibition mounted at the O2 in London last year - 2"Muzik Kinda Sweet2". I was pleased with the exhibition, to see photos of Lee 'Scratch" Perry, Stevie Wonder, Burning Spear, Grace Jones and Augustus Pablo all in one space was uplifting."

Lee 'Scratch' Perry,  London, 1987

 " Everybody loves iconography, we are fascinated by celebrity to some degree. For me to pretend that’s not part of what I do is wrong. And of course, if you happen to be in the company of a well-known musician, you take the shot, because that’s what you do!"

Dinner Ladies, Holyhead Road School, Handsworth, 1984

"...but the ordinary person in the street has just as much value - it's also very important to capture everything that you see. Whether it be from the 1985 Handsworth Riots, the Birmingham Tornado or the regeneration of the Bullring in Birmingham. Whether in Britain or travelling to Albania, India or South Africa, documenting communities is what really interests me."

Mighty Diamonds, Soho Road, Handsworth, 1986

 With your shots, you’re looking – we’re looking with you – at the subject, you’re engaging.

"It’s very important to get that ‘contract’ with those people that I photograph. There are times when you have to take shots surreptitiously, of course. But the reason why I use this camera is it's really small. I have to get in close and personal!"

Selwyn Brown, Steel Pulse, Birmingham 2006

Favourite shots?

"Very difficult. It has to be the ordinary person in the street. For whatever reason you decide they’re going to be IT for that second, ad then life goes on as normal. You take a millisecond of that person’s life, which can go on to become iconic."

In some cultures, taking photos of people is not acceptable at all; it’s seen as stealing part of their souls. Not a western concept, not a 21st century concept in these days of instant downloads…

"Yes. I’ve come across that. Last year, I published a book (Sparkbrook Pride - here's the flickr link) with Benjamin Zephaniah, about Sparkbrook, which is where I grew up. So I went back to photograph the community – and the amount of people wouldn’t let me take a photograph because I would own part of their soul! So for every one image, there were about fifteen who said ‘no’."

Soweto Kinch, Birmingham 2010

You mentioned surreptitious shots. The first photographer I profiled on this blog – Richard Shakespeare – makes no bones whatsoever being upfront and visible.

"Exactly. You can’t hide. That’s the thing. You have to get in close because the lens defines. I like working with available light.  I’m clicking away with this noisy old thing friend of mine called Canon and everyone else’s digital camera is playing shutter sound effects, phut! phut! phut!....Muzik Kinda Sweet!" 

All images © Pogus Caesar / OOM Gallery Archive. All Rights Reserved.

Links
Pogus Caesar's website
Sparbrook Pride

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Don’t you point that thing at me, pal. Snapper supreme Richard Shakespeare shares some thoughts.

Music Photographers: in the pit, hanging off the balcony, vilified by tour managers. A key part of the industry. 

I posted a year or so back (interviewing Bob Marley) about how useless and in the way a DJ is when he’s backstage at a gig. The only people who really should be backstage are those people who have a job to do. The rest is glory-hunting.

Photographers, for the most part, tread a delicate line. They may be have been invited to document the gig. They may be there to further their own careers. But sometimes they just need to go where they really shouldn’t, just to get that special shot. It calls for tact, diplomacy and sometimes a lot of brass neck.

Leominster-based Richard Shakespeare runs the wonderfully named Shakeypix, and has long and generously let me grab his work for this blog. I’ve watched him at work for the last two years or so. No spring chicken, he, but a great snapper. At gigs, he's everywhere - turning himself into a pretzel in the pit, upstage, downstage, in the balcony... smiling, deep in concentration, watching everyone and everything. I talked to him about the job. 

Why photography? 

"I’ve always had a love of image and form. I tend to see everything through a frame. My parents gave me a box brownie for Christmas. I was 8. Then I had a Prinz 110 from Dixons, bought with paper round money. It was nice and compact, but the quality was rather poor. At 15 I went on a course, one afternoon a week, at the local photography college. I picked up a 35mm SLR for the first time. I loved the old darkroom developing process. It went on from there." 

George Barnett and The Ninth Wave at the Yardbird, February 2012

The last time I watched Richard working, he was cheerfully squeezing himself through the crowd at a packed Birmingham boozer as his new charge George Barnett (of which more below) played a debut gig in the area. He was all smiles – a large, uninhibited, jovial presence, firing off shots of the crowd, the band, their friends and family. 

You don't make yourself invisible. Others do. What's your approach? 

"I see no point in being invisible. My clients tend to respond well to this. With a name like mine it's very hard not to be noticed. If a client wanted it otherwise I’d adapt."

When you went full-time, what kit did you buy? 

"It was in 2007. I decided to go with Canon or Nikon digital. The final decision was based on a pro snapper who used Nikon, but told me he wished he’d gone with Canon. So I soon found myself armed with 4 pro Canon DSLR's and a large selection of L lenses. For live work I travel light, packing all I need into a small sling style bag. A full blown shoot requires a serious number of bags, lenses, lights etc. This is where assistants come in – there’s always someone willing to give me a hand." 

Mendi Singh with Alternative Dubstep Orchestra, Mostly Jazz 2011

Studio work or live in the field?

"I don't have a studio. It’s too tame. And too costly. I’ve got all the kit I need to set up a studio anywhere, and locations are so much more interesting. Many bands send me their rough ideas and backdrops. I then go out and source locations to suit. Birmingham bands like to come here (Herefordshire) as it’s so different to the usual Digbeth/urban backdrop. Plus we all enjoy a meal and great banter in my kitchen afterwards." 

You shoot lots of stuff for the love of it. How can you make it pay? 

"Good question, it's not all about the money for me. I can work my prices to fit budgets. I used to do some live work for free to find new clients. That’s how I built up long term relationships. Being trusted is everything to me – that’s how you get the money shots that others miss.

Paul Murphy, Songwriters Cafe, Summer 2011

"! always look for the real person, not someone who’s aware of a camera in their space. I’ve been known to pull faces at someone onstage or dish out the odd insult when face to face in order to get a reaction. But I always follow it with a smile and a thank you." 

It’s a crowded field. Is there a sense of community or a sense of competition?

"It’s competitive, but I try not to enter that game. Each photographer will have their own style. Most UK music photographers have a lot of respect for each other. We share space and time: we’ll all chat before entering a pit, then whoever has the best spot will get their shots and move to give others a chance. I find that just a few London based snappers let the side down and fail to understand that mentality." 

Mark Magoo Robinson, Leftfoot 10th Anniversary Special

You have long-term relationships with bands like the Destroyers, the Misers and Goodnight Lenin. How does that work?

"There are many bands I’ve built up an understanding with. I’m rather lucky to have made so many musical friends.

"Goodnight Lenin came to me about 3 years ago. I was recommended by a mutual promoter friend. They were in the planning stages. The budget was tiny. I drove to Edgbaston and did an all-day shoot for the cost that just about covered the petrol. We all got on like a house on fire. About 3 months later they had their first live show, and I was invited along. At this point I had no idea what kind of sound they had. I loved the music and the rest is history. I have now become the band archivist and been at their sides for nearly every gig."

Goodnight Lenin on tour, March 2012

 "The snapper role was then combined with that of tour manager last year, which sadly has had to go. I love those boys like the sons I never had - I have two daughters. The deal is all about budget. As a band’s kitty grows then my fee will reflect their situation. This way we can grow and reach our goals together. To be taken on tour by a band opens lots of great opportunities to get exclusive one off’s. These days I would rather do that than shoot the actual show, although I do both." 

What about big contracts? 

"I’m not sure that I want large contracts. They can end up being a chain around your neck. I worked with Florence And The Machine, shooting a number of the early shows while they were on the rise. They have always been good to me, and I love them dearly, but now for me the machine is the industry, not the band, which saddens me."

"To be honest, when you’ve got to jump through hoops to get a photo pass, I just can’t be bothered. I’d rather just move on. But I have picked up some interesting work off the back of the music work. Last Summer I did a shoot for Echo Falls the wine company, who wanted product placement at the Isle Of Wight Festival. Life is never dull!" 

Can we talk about your health? Say no and I won't. But to me it's part of the story. 

"Sure. I have always been healthy. Last summer, with 16 festivals covered and two still to go, I got a life-changing shock. My age must have kicked in and sent my body a warning message. I had a stroke, which left me on a hospital ward for a week, followed by months of recovery and reflection. Many of my industry friends like Goodnight Lenin, The Misers, Jo Hamilton with Jon Cotton and fellow photographer Wayne Fox with Sara paid me regular hospital and home visits. My dear friend Tiffy B (she's worked with Lady Gaga and CeeLo Green) even dropped in after coming off tour with Tricky. So many people sent cards and Facebook messages. But it was clear that I’d have to change my working life." 

But you’re back. Now tell me why you decided to go manage a band. At your age and all.

"As I recovered from my illness, I was weak and rusty - I’d gone a month without picking up a camera. I couldn’t drive for 6 weeks. I was not well enough to travel far from Herefordshire; Birmingham was too far. I looked around for a local artist and offered a free shoot to keep my hand in.

"The artist I found was the then 17 year old George Barnett, a former Young Drummer Of The Year. George invited me to a gig at The Bull in Ludlow, not far from my home - my first gig in ages. Yes, it was a pub gig; yes, it was not the best venue, and, yes, there were not hundreds people there, but WOW … he blew me away." 

"A big talent, right under my nose. A week or so later we arranged a photo shoot with George and his band The Ninth Wave. The first set of photos were in the bag. After a few more meetings George asked me if I would consider being his manager. A couple of days of days later, I decided to take him up on his offer. Since that time my world has moved to its next phase. I still take photographs, and recently went around the UK with Goodnight Lenin with Beth Jeans Houghton as support. My tour managing is on hold, whilst I concentrate on my new role of developing a very special talent, and I’m sure in years to come he will be a National treasure. The debut George Barnett album 17 Days (here's the bandcamp link) was released on 12th March 2012." 

What about favourite shots and subjects? 

"So many! My most well known shot is a live one of Florence taken at Shepherds Bush Empire. The London tog’s were all squashed into the pit with not even room to pass each other.

I had snapped most of the tour and had sorted out with the lighting guy to give me more light in the first song, as we were only able to shoot the first 3 songs. Lighting on Flo had been very dark. Not wanting to enter the pit scrum I decided to sit on the side of the stage, and so took my shots from a different angle to the others. It wasn’t until I got home I realised that the money shot was in the bag. So that was a bit special.

"I have a lovely one of Carl Barat (Libertines/Dirty Pretty Things) taken in the green room after a London showcase that hangs in my home. Carl said he couldn’t see it being a good shot, but after looking at the result he soon changed his mind." 

"An early Tinie Tempah taken in his Rainbow dressing room is another favourite."

"I also love an unusual snap of Robert Plant (see this at the top of this post), taken backstage at the Mostly Jazz festival last summer.

"Robert had just flown in from the USA and was very tired, but he still had enough fun left in him to pick up a jug of flowers and hold it up whilst gesturing with one finger that there is only one Plant."  

"Roisin Murphy (ex Moloko) will always have wallspace in my home, but my favourite shot of her was taken on Moloko’s final tour, by my daughter Laura with a happy snaps camera and shows Roisin jumping on my back."

Links: 
Shakeypix
George Barnett website  

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