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February 17, 2005Behind the Lens: Photographer Richard E. Aaronby Rick Landers Armed with a heat seeking eye, degrees in Fine Arts, and precise instincts, photographer Richard E. Aaron's professional talents offer us an insider's look into the world of music -- rock, blues, jazz, funk, reggae - you name it. In the midst of the rock 'n' roll circus, Aaron had a ringside seat when he lived next door to New York City's top recording studios. In his remarkable career he has captured the thunder of rock's foot stomping with explosive images of Jimmy Page, Jeff Beck, Van Halen, Carlos Santana, Ted Nugent, Prince, the Sex Pistols, Rory Gallagher, Bob Marley, B.B. King -- his stable of images is phenomenal. Fueled by adrenaline, Richard E. Aaron is always ready to mix it up with work in feature films, posters, video and other media. And as the globetrotting freelance photographer for six (!) record labels, he's not going to rust any time soon. I caught up with Richard while he was juggling a heavy load of assignments -- still, he wrangled the time for a Modern Guitars interview filled with photographic images he shares with us that range from delightfully poignant moments to scorchers. Growing up, did you always want to be a photographer? Richard E. Aaron: I was born in the Bronx, New York. At the age of seven I opened a savings account at a local bank where you could make a deposit and choose one of five gifts. I picked a camera, which was a Kodak Brownie. Then, in high school, I entered a few photo contests, which I won. Later, I decided to study feature film production and become a cinematographer, even though up to that point I was self-taught in still photography and darkroom work. I loved the capture of motion and decided to get into films. I applied to Brooks Institute of Photography in Santa Barbara, California and stayed there for a year and then transferred to the School of Visual Arts in New York because the motion picture film department was better. I received my degrees there. When did you first grab a camera? R.E.A.: I guess it was at the age of ten. I went on a family outing to Hershey, PA. In the park, after the chocolate tour, there was a pond with one white swan and one black swan. I was so mesmerized by what I saw that I shot a roll of film with my Brownie camera. When I got the prints back I was amazed by what I had captured. It was so arty. The shots were in B&W and I was hooked. Did any particular photo or assignment bring your work to the attention of the music world? Any lucky break? R.E.A.: Like I said, I was attending film school in New York City. I was into jazz and classical music. At that point I had never photographed any rock bands and had never thought of photographing anything to do with the music industry. One day I got a call from a friend who was the managing editor of a music magazine called "Good Times." He asked if I would shoot a concert knowing that I had never shot one before but figuring I had the skills to do it. I didn't want to. I argued with him for twenty minutes saying that I had no interest, but after the twenty minutes I broke down and said I would do him a favor and do the shoot. The show was Emerson, Lake and Palmer at Madison Square Garden. I was the only photographer shooting in front of the stage in the so-called "photo pit" for the whole show. Not bad for the first one. One thing that I had going for me was living in a brownstone building on the third floor where I had two apartments, which I joined into one. One of the bathrooms I converted into a complete darkroom. I was living within six blocks of all the record companies, which gave me the opportunity to do a shoot and within thirty minutes have the film processing in my darkroom and back to the record company within two to three hours, whereas, other photographers had to wait until the next day since they had to deposit their film with a lab for processing. How has photography changed over the years and has it altered the way you approach your work? R.E.A.: My second camera after the Kodak Brownie was a Nikon F. My third camera was a 4x5 view camera. By the end of my second year of shooting music, I had purchased four Nikon cameras, eleven lenses, and a medium format Hasselblad camera with four lenses. These were all film cameras. Even today I only shoot with film cameras and if the client wants digital I have the film scanned. Digital cameras have some good use but I have no need for them. Digital cameras are used for quickness, to deliver the photos to the client right after you do the shoot, as in photojournalism for magazines or newspapers. Your equipment and technology? R.E.A.: I use only Nikon cameras and lenses for 35mm shooting and Hassleblad for medium format shooting. I'm a big fan of using available light, as your readers can see if they visit my online gallery. In fact, my gallery documents the shooting specs of the images presented - film used, film speed, shutter speed, f-stop, lens, and lighting. Formal education? R.E.A.: After high school I attended Brooks Institute of Photography in Santa Barbara, California, took one year of photography, and then transferred to The School of Visual Arts in New York City to study photography and film production. I received a BFA, BA, and a Masters in film production/cinematography and photography. I was about to go after a PhD in film production and photography when I started to work for the record companies and realized I was making a lot of money, so no doctorate. Your archives contain over one million photographs covering thousands of celebrities and groups. Bored yet? R.E.A.: I never get bored. I work as an freelance photographer for six music labels around the world, which keeps me shooting in London, Germany and New York. I am on the road more than I am at home. I also shoot for feature film companies - unit stills, posters and the behind-the-scenes "making of" video for the movie's DVD packaging. When I am not shooting, I usually sleep. I guess I have been in the right spot at the right time and have had some very unique experiences, far from boring. Three in particular come to mind. During a one month period I shot a group called "She Rock," a five-woman hair band, in mainland China. Sixteen cities. They recorded an LP in Shanghai during the first few weeks and then did a concert tour throughout the rest of the People's Republic of China. Then I toured with Mick Fleetwood for his first solo LP called "The Visitor" in Ghana, West Africa. Mick recorded all the tracks there and performed for the heads of state from that country. I was hired to capture everything that went on for use in publicity and the LP. The third experience was a three week tour across America with the Sex Pistols. I never really slept during those three weeks. From running away from the English press to being threatened by a man with a gun in Texas - bored? Not! Most memorable shoots? R.E.A.: That's a tough one, there have been so many. Here are a few off the top of my head. Eddie Van Halen. This was at his home after spending a few weeks on the tour with the band across America. Eddie asked me if I would be interested in doing a shoot of him at his home. I agreed, and during the shoot he took me into his guitar room. When I saw it I smiled, thinking what a great shot I can do here. I spent the day at his home. A very relaxing shoot. Eddie can do that to you. Jeff Beck. I was hired by his record label to shoot portraits of him back stage. He did not seem to be into it until one of his road managers came into the dressing room and gave me a big hello. He and I went back many years and he said to Jeff that I was one of the "good guys". This seemed to take the edge off and Jeff looked more relaxed for the shoot. After about ten rolls of film I figured that I got what I needed. Jeff turned to me and said, "The shoot was painless." Peter Frampton. I started to shoot all of the shows he did in NYC. After seeing my photos, A&M Records, for whom I had shot the shows, then hired me to shoot an interview that Peter was giving at their offices. This was my first one-on-one contact with Peter. Did shots of him in one of their offices after the interview was over using window lighting. Peter saw the photos and wanted me to do all of his shows. The rest is history, as is the LP cover of "Frampton Comes Alive". Keith Richards. I did many Rolling Stone shows but the two that come to mind are the Barbarians Tour and the Concert for the Blind, in Canada. For the Barbarians, I was allowed to shoot three shows in NYC, in fact, the whole show. After security cleared out the rest of the photographers following the third song, I was able to concentrate on getting shots without other photographers in the way of my lens. There was a point in the show where the lighting and angle were the best I ever captured of Keith. He looked the healthiest he has ever looked. This shot became my favorite and Keith also loves the shot. With respect to the Concert for the Blind, Keith had gotten busted in Canada and had to do a concert for the blind, sort of a community service thing. I was one of the very few photographers who were allowed to shoot. I was at front stage, which was only three feet high, and was kneeling so I wouldn't get in the way of the audience seeing the show. A security guard came over to me and said that I could stand up because the first thirty rows were seating for the blind. I was five feet away from the Stones, shooting the whole show. B.B. King. The king of urban blues, B.B. King, occasionally played the Bottom Line in New York's West Village. My photo editor gave me this assignment: "Make sure you get B.B. with Lucille." Having never seen B.B., I wasn't sure who Lucille was. When "she" still had not appeared halfway through the show, I asked a fan in the audience, "When does Lucille usually come on?" He laughed and said, "He's been holding her all night." Lucille, of course, is B.B.'s signature Gibson electric guitar. Who haven't you photographed that you would have liked to? R.E.A.: I've photographed almost every artist and group but there were two whom I always wanted to photograph but didn't: Frank Sinatra and John Lennon. With Frank, there were too many restrictions. With John, Bob Gruen was his photographer and since Bob was my friend, I didn't want to step on his toes, so to speak. Any lessons learned for young photographers just starting out? R.E.A.: No matter what obstacles are put in front of you, do not give up. If it comes to picking either eating or buying a roll of film, go for the film. Do you prefer studio shoots or live shows? R.E.A.: I like both. The stage shots I capture depict the emotion that the artist gives off through his music. If I do a studio shoot, I would like to have seen the artist's live show first so I can transfer to a studio setting what the artist gives on stage through his or her music. When doing a studio session with an artist I have never met before, I have to come up with a visual idea from my first handshake and hello. You can never really plan for a shoot beforehand because there are things that change and evolve that can't be anticipated. So while shooting one idea, I am planning what my next shot will be. Who's always fun to shoot? R.E.A.: Van Halen. I guess of the 4,000 groups I've shot on tour my most fun was on the Van Halen tour with David Lee Roth. I shot them on tour for almost four years. I would be put on at the beginning, middle, and end of the tour for about a week each. Talk about a party all the time. When I got back home it would take me about a week to recover. I could write volumes of what went on but it is best to keep all that private. Are you able to enjoy a performance and work at the same time or does one get in the way of the other? R.E.A.: When I have the camera in hand all my concentration is through the lens. I might hear the music but that is secondary. I put 100% of myself in the vision and the capturing of the image. I am unable to go to a show and just sit and listen to the music. The second the artist comes on stage I get into a "photo mode" and I am unable to sit and relax. How do you capture the "person" in the shot and not just the "celebrity"? R.E.A.: I never treat whom I shoot as a celebrity. In order to capture what I want, which is his or her innocence, I have to treat whom I shoot as I would want someone to treat me. I did not get into this to hang out with the music scene. I am in this business as a photographer. B&W or color - which do you prefer? R.E.A.: I prefer to shoot B&W, love the grey-scale tones, but when I am hired to do a shoot I have two cameras loaded with color film and two cameras with B&W. I shoot an equal amount of both. Did you have a mentor or inspiration? R.E.A.: Ansel Adams was one of my instructors in school. I have always admired him and his work. The best way to learn is to watch other photographers move and deal with people. You also learn by your mistakes. Any lucky shots? R.E.A.: I do not consider anything I shoot lucky. When the finger hits the button, what I capture is what I want. Whom have you been shooting lately? R.E.A.: I mostly shoot clients that I have had for the past thirty years. I usually don't like to shoot the new artists because the people around tend to be idiots and want me to sign my life away, which I never have and never will. Besides photography, what else are you passionate about? R.E.A.: Two things. One is cooking, which I love to do. I consider myself a great cook. The second is women, which is why I am still single. I say no more. If you could conjure up a dream assignment, who would be the subject? R.E.A.: Bach, Beethoven, Aaron Copland and Stravinsky. Am I dating myself? Any new projects in the works? R.E.A.: I am working on four CD covers, one which I finished last week for Chris Hillman formally of the Byrds. I am also working on two books of my own photography, one rock and the other travel. Plus, four books where my photos will be used. I am co-producing a feature film for theatrical release, where I will also be doing the stills and the behind-the-scenes "making of" video. Do you think I would hire another photographer? _____ Related link Richard E. Aaron's website: www.rockpix.com
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