London-based photographer and visual artist Sam Rockman boasts a diverse portfolio that transcends conventional boundaries, fostering genuine connections with individuals globally.

Spanning analog and digital photography, music videos, live performances, and documentaries, his work delves deep into the human experience. Featured in prestigious publications like Wonderland, Kerrang, and Clash, Sam's lens captures not just images but narratives, showcasing the essence of musicians like Perc, Hollie Cook, and Jelani, as well as the dynamic atmosphere of festivals such as Download and Glastonbury.

Sam was a finalist in two categories at the 2023 Abbey Road Music Photography Awards, and has been back to the studios since to shoot various projects, including their Lock-In and Equalise session. Drawing inspiration from his Finnish roots, he infuses his work with a profound appreciation for diverse individuals and their stories. Whether photographing gigs or collaborating with artists for portraits, Sam's dedication to capturing the essence of the music world shines through. He seamlessly blends his passion for photography with his love for music, resulting in a narrative uniquely his own.

Following his successful debut solo exhibition So Far, So Good in 2023, which celebrated the intersection of people and music, Sam continues to push boundaries. His latest group show, Are We There Yet? at Camden Open Air Gallery, alongside photographers Min Sett Hein, Rossella Damiani, and Almira Kho, explores the nuances of the creative industry, showcasing the highs and lows experienced by creatives and inviting viewers to ponder the journey of creativity and human connection.

We sat down and spoke with Sam to ask him how it feels to be Abbey Road’s photographer in residence, what a day in the life looks like for him at the studios and what he’s been working on so far.

---

Background / Inspiration

1. What initially inspired you to pursue music photography, and how has your style evolved over time?

I have always loved music so taking photos of musicians was a perfect combo. It did take me a while to fully immerse myself in the live music photo world. A friend started a punk hip hop band called Pengshui and they asked me to take almost all of their photos - that really pushed me in the right direction. I then shot a lot of their gigs from tiny venues to massive festivals and I really fell in love with it.

So far my style evolved through two major changes. Firstly I moved from film to digital which gave me more room to try ideas, see mistakes and fix them on the spot. It helped me learn how to edit more and develop my style, which is now a split between the shot and the edit. Secondly, I stopped being afraid of flash and started working out how to add it to my work and create new looks.

2. Can you share some of your major influences or photographers who have inspired your work?

Harry Steel, Melissa, JG visuals and Murray Deaves are some of my favourite music photographers at the moment. Their work just stands out from everyone else’s and I hope to achieve that with my photos too. A lot of my influence comes from films, TV and art, especially years of watching films and then rewatching my favourites. I also love photo books and documentaries of street photography.

3. What themes or subjects are you most passionate about capturing in your photography?

I really really like taking photos so whatever you put in front of my camera I will enjoy and make sure I get the best image possible. Every job is a challenge to try to take the best photo and with every job I learn something new. People are my favourite subject to photograph, especially the people closest to me. It’s a real thrill to capture moments and see the enjoyment people get from that image. But ultimately my favourite place to be is a tiny sweaty venue at the front of the pit taking photos of the band, the crowd and capturing loud music.

Role / Responsibilities

4. How does it feel to be Abbey Road’s new photographer in residence?

It is incredible! I never would have thought I’d get the chance to photograph at Abbey Road. To be the resident photographer is an out of this world feeling and I have to pinch myself every time I walk through those doors to make sure it isn’t a dream.

5. What does a day in your life look like for you when you’re shooting at Abbey Road?

Wake up, have a coffee, check I have everything packed and head to the studio, including a mild panic that I have forgotten something. Once I am there I get my cameras out and start shooting. Often it’s the same studio so I know my way around but depending on the artist I will slightly change how I shoot. You have to read the room and I know the music is the top priority so I work around the subjects changing lenses for the right shot. If I know I can get close then i’ll shoot a lot on wides to get a feel of the room but if there is a lot going on then I go for a longer zoom and shoot from a distant. My goal is always to grab candid, intimate moments that capture the creativity of making music. At some point in the day I will grab the artists and do a few quick portraits on the stairs to the building as it’s an iconic shot and great to have the ‘Abbey Road Studios’ sign in the background.

6. Are there any specific shoots so far which have stood out for you at Abbey Road?

This is maybe a boring answer but they have all been incredible. There has been a variety of artists I have photographed and it’s so nice seeing everyone’s different processes they have to making music. Normally it’s always in the same studio but every time I feel like the photos are slightly different from the energy of the artist in the room. It’s such a pleasure to be a part of the process. I have enjoyed everyday I have been there so far.

Creative Process

7. Can you walk us through your creative process, from conceptualisation to the final image?

My creative process varies for each job but I tend to work a lot with being spontaneous and following my gut instinct. I don’t normally like to plan too much for my shoots apart from if people send me references. Then I can work out how to light the studio that way or think of locations that would work. It’s how I have always worked and I have started creating some Pinterest mood boards for shoots but I think it always changes on the day when meeting the person you are photographing. I love chatting and taking photos so I like the day to flow and capture what feels right at that moment.

With days at Abbey Road that is very spontaneous as I am capturing what happens so I never know what the day will be like. I go in knowing that I will 100% get some portraits of the artist on the stairs but apart from that it’s just shooting whats there which is very fun!

Once in the edit I manually cull my photos which can sometimes take a few hours and then I have a few of my own made presets that I apply and then tweak to get the image looking great.

8. How do you approach new environments or subjects that you haven't photographed before?

I don’t think my process changes that much - I might have a slightly longer chat at the beginning just to make us both at ease before shooting but really it’s the same if it’s someone I’ve photographed 100 times or completely new. Perhaps if it’s a new place I’ll google and have a look at what it looks like but often it’s in the diary, I turn up and I shoot. I also tend to not google who the person is as I don’t want to know how big they are as that might raise my anxiety knowing I am photographing someone well known.

9. How do you maneuver when working with artists who aren’t necessarily photogenic or comfortable before a camera?

Lots of talking and chatting. Often putting the camera down and just having a chat helps to relax them and then get the best out of the shoot. Also everyone is photogenic - everyone looks great and everyone deserves to have a great set of photos whatever background they are from.

10. What are some techniques used to capture the perfect shot?

Lots of practice. I mean a lot. I am constantly shooting and when I am not shooting I am thinking about shooting because I know I learn so much from every single time I pick up my camera. I feel like now there is a lot of muscle memory and my brain knows how to frame a shot without much thinking but at the start it was all trail and error. So shoot a lot, take portraits, go and do street photography, take your camera to gigs - just keep pressing that button and the perfect shot will start happening a lot.

11. How do you help bring out the best in your subject during a more challenging shoot?

Keep calm, lots of chatting and know that you are both after the same end goal - a photo you are both happy with. I think from years of doing this I know automatically what I want to get with each person and can set my camera up quickly to shoot in a really short time. I’ve been told before that I work faster than most people. I do think that is from learning on film and having a finite amount of shots for each shoot, so you need to trust in your ability to take the perfect picture in a small number of shots. My attention span is also quite short so often I can’t shoot for very long.

Personal Insights

12. What has been your most memorable or impactful photography project to date, and why?

Getting nominated for two categories at the Abbey Road MPA’s last year has quite literally changed my life. I wouldn’t be working at Abbey Road now if it wasn’t for that so it’s had a HUGE impact. My last group exhibition ‘Are We There Yet?’ at Camden Open Air Gallery in the beginning of this year was also a really memorable project. I had an amazing time working with talented friends to create a month-long exhibition highlighting the ups and downs of the creative journey.

13. What advice would you give to aspiring photographers looking to pursue similar opportunities?

You either get lucky, know someone in the industry or it’s a long LONG road of working, grinding and questioning your decisions. Don’t get me wrong I love this job and wouldn’t change anything but it’s taken me a long time to get to where I am now and my goals are still far ahead so I’m still pushing. Just know you got to love it deeply and be persistent. Social media only shows the good bits - there is a lot of shit amongst the good.

14. The use of film cameras is slowly rising within photography; do you find that there’s a certain quality that a film camera brings to life that digital cameras lack?

My photography journey started on film and I only shot film for a number of years. It has a lovely look and it’s fun to shoot but I think giving such precedence to the format is getting out of hand. It’s another tool to create photos and varies so much with how it is used. I find a lot of people think shooting film makes them instantly a great photographer and that isn’t true. Plus Fuji’s film simulations have changed the game for me - that film look on digital is great.

Future Aspirations

15. How do you think this residency will influence your work and career moving forward?

It’s great to be working with some amazing musicians and building new connections. At the end of the year I am going to have an amazing portfolio of some incredible artists that will hopefully lead to some new work with new people. But I also want to enjoy being in the moment and not think too much about how this is going to affect the future. The experience has been amazing so far and each day getting to be in Abbey Road taking photos is a great step in my career.

16. Are there any new techniques or styles you are eager to experiment with during your residency?

It’s hard to decide on new techniques as I think each artist I shoot slightly differently but that’s just instinct on their vibe. I’ve been thinking about restricting myself to certain lenses and seeing what happens if I give myself limits but at the same time I want to do a good job so my anxiety kicks in and I end up taking all my kit and shooting a wide range of photos to make sure I have a good selection at the end of the day.

Follow Sam on Instagram