Photographer Spotlight: Christaan Felber
Over the coming weeks, we’ll be profiling some of the talented photographers who participated in this year’s Music Photography Awards and had their work nominated by our judges.
Photographer Spotlight: Christaan Felber
Over the coming weeks, we’ll be profiling some of the talented photographers who participated in this year’s Music Photography Awards and had their work nominated by our judges.
First up we have Christaan Felber! Born in Los Angeles and raised in New Jersey, Christaan was nominated in the ‘Jazz: The Rebirth of Cool’ category for his striking image of French-American vocalist Cécile McLorin Salvant. His work is all about strong colours, deep contrast, and stark shadows.
MPAs:
How did it feel to be nominated in the Abbey Road Music Photography Awards 2024?
Great! I honestly wasn't expecting it. Being an artist has so many ups and downs so it's very validating to be a part of the show.
Why do you think it is important to create a platform like the MPAs to showcase music photography?
Because there don't seem to be any other formal awards for photography like there are in other arts. It's also a great way to bring people together.
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Getting Started:
How did you fall into music photography specifically?
They have been my two major passions in life. When I was in high school I was in five different bands while at the same time spending my lunches and study halls in the dark room. So it was kind of a no-brainer. It also helps to be able to related to musicians and to be able to speak their language.
Was there a particular image, body of work or photographer that was a major inspiration when starting out?
Yes, the book Fuck You Heroes by Glen E. Friedman was hugely inspiring to me when I was first starting out. He captured so many pivotal subcultures within the music scene with an energy that I didn't see from anyone else.
What makes a good subject in music photography and what makes a good music photographer?
I like it when it's collaborative because then it feels like the subject and I are working towards a common goal of simply making great work. Openness and vulnerability are also important, especially off the stage.
What advice would you give to someone getting started?
Shoot a ton and learn when to take advantage of opportunities and when to hang back and stay out of the way.
How did you go about building a portfolio?
Taking every job I could, making the best work I could and showing that work to everyone I could.
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Top Tips:
What are your top tips you can give to any music photographer?
Learn to use light. Not just a flash, but learn to see the ambient light of a situation and how to use it/shape it so you can get the shot in any situation and make it work for you.
What are some post-processing techniques that can enhance your music photography?
It depends on the shot; there's never 'one-size-fits-all.' That being said, I try to push my digital photography to a more organic, film-like look. I've always loved the softness and graininess of film over super-crisp HD photos.
How do you create a distinctive style and visual identity in your music photography?
Practice emulating the photographers/styles you love. Keep shooting over and over again until it just kind of happens. It's like water or wind eroding a path in the ground: it's a culmination of various overlapping movements happening continuously until a singular path develops.
Live:
When shooting a live show, how do you prepare? What challenges do you typically face?
I make sure I've got the lenses I need and the lighting I need for any situation (I'm pretty minimal: one, maybe two lenses and a flash on camera). And extra memory cards and/or film. That's important! Access is probably the biggest challenge. Especially in festivals where there are a million bracelets and security can be rough and overwhelmed.
Do you have a preference of working on location/on tour vs in a studio?
I prefer on-location/tour because there are more variables to work with. I'd prefer to have to take things away then to add things onto a blank canvas.
Creativity / Inspiration:
Can you share some insights into your creative process? Are there any specific techniques or equipment you prefer to use?
Creatively, I think it's important to not be married to the vision in your head and to be open to mistakes or changing circumstances that may give you a different perspective or elevate the vision you had.
I like the least amount of equipment that is the most versatile. I'm not much of a gear-head, so I tend to keep things minimal for the sake of ease/not getting overwhelmed.
In your opinion, what distinguishes a remarkable photograph from an ordinary one? What elements do you priorities when framing your shots?
A remarkable photograph is able to capture the intersection of an interesting moment, beautiful light and a composition that feels good. I prioritize intrigue within the entire frame.
Do you think there’s a genre of music that naturally lends itself to photography?
Probably rock n roll. It has so much movement, the stage lighting is generally interesting and fun to work with, and the musicians typically have a look that's captivating.
Who is someone, alive or dead, you’d love to photograph?
Maybe Bach or Beethoven? I think it would be fascinating to a) photograph someone who has never been photographed before and b)photograph someone who is synonymous with musical genius. Although if I went back in time and photographed either of them I'd probably be burnt at the stake for being a witch.
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Working with Artists:
How does your approach differ when working with upcoming talent versus established artists?
In every case I try to read the room as best as possible and to make the talent feel comfortable and that can change from artist to artist independent of their experience.
** Can you share an interesting or memorable experience you've had while collaborating with an artist?**
I really enjoyed working with the late great Mac Miller. And this ties into the previous question, because he was an established artist, but was so easy to work with. He was super collaborative and kept coming with silly ideas, like putting a lamp-shade over his head while shooting in his hotel room. That type of energy keeps a shoot fun and easy.
How does the photographic process differ between working with introverts and extroverts?
With introverts, you may have to nudge them in order to get a sense of what they're comfortable with, whereas extroverts will put it out there and you may have to reel them in a bit. There's a challenge to each, and you have to practice reading people and making them feel comfortable.
Have you ever been starstruck when photographing someone? How do you overcome that?
Yes, I was photographing Ewan McGregor and I kind of nervously stumbled over my words when introducing myself. I was never really able to recover my dignity for the rest of the shoot. In terms of overcoming that, I try to humanize people as much as possible and realise that they are probably dealing with the same stuff we are. I think most people appreciate that.
In one word, how would you describe your photography?
Real.
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