Photographer Spotlight: Danielle Agnello
Next up we have Music Moment of the Year nominee, Danielle Agnello!
Photographer Spotlight: Danielle Agnello
Next up we have Music Moment of the Year nominee, Danielle Agnello!
How did it feel to be nominated in the Abbey Road Music Photography Awards 2024?
It felt amazing to be nominated. Reading the email's subject line from the Abbey Road MPA, "You're Nominated," was a joyous and surreal moment. I actually jumped out of bed and did a celebratory jog around my bedroom. It still makes me smile when I think about it.
Why do you think it is important to create a platform like the MPAs to showcase music photography?
The MPAs are crucial for helping others recognize music photography as a true art form. Platforms like the MPAs, which celebrate our images and value our hard work, help create a work environment that does not tolerate unfair treatment of music photographers.
Have you seen any benefits to you since being nominated?
Yes, the most significant benefit I've experienced is the doors it has opened for new work opportunities. I'm excited about some upcoming jobs and enjoyed meeting fellow nominees at the awards ceremony.
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Getting Started:
How did you fall into music photography specifically?
My background is in directing film and portrait photography, and this influences how I approach my music photography. In many ways, I’m seeking the same depth and connection in my live music photography that I strive for in my portraits and filmmaking.
I first discovered my love for capturing live music at a show, right when things were reopening after the shutdown. As an audience member at concerts, I like to be as close to the stage as possible, and for me, the seats were too far from the stage, so I started using my iPhone’s camera to zoom in for a closer view.
Initially, I used the phone just to get a better view, but I loved every aspect of the show and I started taking photos and videos. I realised that I feel most connected to performances when photographing them. It's funny because my Abbey Road-nominated photo came from the second live show I ever shot. Although adding live music to my photography services was an unexpected direction, it has become an important part of my work alongside filmmaking and portrait photography.
Was there a particular image, body of work or photographer that was a major inspiration when starting out?
Annie Leibovitz has always been my biggest inspiration; she's such an extraordinary artist. I also love Richard Avedon, and Jill Furmanovsky's work, and I think Greg Noire, Todd Owyoung, and Ashley Osborn create stunning images. There are so many amazing music and portrait photographers out there who inspire me. Honestly, all the judges on the 2024 panel are brilliant—many of them are some of my favorites. My work is also deeply inspired by cinematographers. Some of my favorites include Conrad Hall, Gordon Willis, Michael Goi, and Peter Deming.
What makes a good subject in music photography and what makes a good music photographer?
I think what makes a good subject comes down to preference. For me, a good subject is when I sense an openness from the artist and their desire for me to capture them. I love shooting live sets where the artist approaches and directly interacts with my camera; those are incredible moments to photograph. At the same time, some of the best moments with the artist on stage are the ones that feel private. Of course, they know I’m there taking photos, but I try to be discreet. It’s the artist’s unawareness of the camera that makes those moments truly beautiful. In my opinion, all kinds of artists with different traits can make for good subjects.
As for what makes a good music photographer, I think you need to be able to see what is special about the artist on stage or about the event and capture it as quickly as possible. Obviously, there's a lot more that goes into what makes a good music photographer but I think that those are key ingredients. I also think many music photographers are great in different ways. We are all individuals with different strengths and different styles. There are no rules. Like all art forms, we don't want or need just one type of music photographer. In film, we have David Lynch and we have Martin Scorsese—both totally different yet equally wonderful. Both artists are essential.
What advice would you give to someone getting started?
Find the shows you want to cover and reach out. Don't let fear hold you back. It's like that old saying goes: "You can't win the lottery if you don't buy a ticket." Buy that ticket! Also, I strongly recommend Todd Owyoung's blog on music photography, ishootshows.com. It offers plenty of invaluable information and resources for music photographers.
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Top Tips:
What are your top tips you can give to any music photographer?
Arrive early, follow the guidelines, and be kind and respectful of everyone. Make space for the other photographers in the pit. Only post flattering photos of the artists you capture. Even if it's a great shot, don't post it unless the artist looks good.
How do you create a distinctive style and visual identity in your music photography?
I rely on my gut instinct and intuition to guide me as I'm shooting and later when editing. I wouldn't be able to create without it. I go with what feels right, what moves me, and what I think looks good.
Live:
When shooting a live show, how do you prepare? What challenges do you typically face?
I make a checklist for all my equipment and make sure to have the contact person's number. I always arrive a few hours early and visit a coffee shop near the venue to avoid traffic jams. A few days before the shoot, I look at photos and videos of the artist's tour to get an idea of their lighting. I also look at pictures and videos of the venue beforehand if I need to familiarise myself with it.
Creativity / Inspiration:
Can you share some insights into your creative process? Are there any specific techniques or equipment you prefer to use?
I always research the lighting for the tour and venue to prepare myself. I shoot with two cameras and wear a Black Rapid Double Breathe Camera Harness. The lenses I typically use are a 24-70mm and 70-200mm, which usually cover my needs. I like to use CF cards when shooting and SSD drives for editing, and I back up all my shoots on several hard drives.
Do you think there’s a genre of music that naturally lends itself to photography?
All genres of music can work nicely for photography. There are definitely specific genres that I’m more interested in capturing, but all genres have the potential to be beautifully photographed.
Who is someone, alive or dead, you’d love to photograph?
David Bowie.
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How does your approach differ when working with upcoming talent versus established artists?
My shoots with upcoming talent are just as important to me as those with established artists. My goal is to make the artist feel as comfortable as possible so we can capture the best images. If it’s an artist’s first photoshoot, I might guide them through the process. But I treat everyone with the same level of respect and do my best to make them feel as uninhibited as possible.
Can you share an interesting or memorable experience you've had while collaborating with an artist?
One of my most memorable experiences on a shoot was collaborating with actor James Duval. He’s an incredibly talented actor and has been in many great indie films, but my favorite role of his is Frank the Rabbit in Donnie Darko, which also happens to be one of my all-time favorite films.
In the film, Frank is a mysterious figure only Donnie can see—an eerie guide in a rabbit costume, appearing in visions, warning Donnie that the world will end in 28 days. Over the years, the movie has become a cult classic, and many people, especially the film’s diehard fans, closely associate James with his character, Frank. In a way, Frank the Rabbit has become James’s shadow, sort of following him around ever since the film’s release—kind of like how Frank followed Donnie. Obviously, it’s in a very different way, but still, it’s someone that’s always there.
So, before our shoot, James and I talked about capturing an alternate-universe narrative with Frank—one where he’s been following James around for the past 20 years. But instead of being the eerie, guiding bunny from the film, this version of Frank is more like a stereotypical Hollywood star from the golden age—lounging by the pool, self-absorbed, and holding a cocktail in hand, etc.
I ended up shooting James and Frank sitting by the pool in sun loungers, with Frank in an Easter Bunny costume, wearing swim trunks and sunglasses. We had an absolute blast on this shoot, and working with James made it one of my favorites by far. He was willing to try anything and helped bring this idea to life in the best possible way.
*How does the photographic process differ between working with introverts vs extroverts?
I get a read on the individual and do my best to meet them where they are. I relate to both introverts and extroverts. I’m a sensitive person who cares deeply, and there are many times I prefer to reset and recharge with my own company. At the same time, I can also be very outgoing, and my sense of humor is a big part of my personality. So I truly understand both sides of the introvert-extrovert spectrum and try to communicate in a way that the artist will be most comfortable with.
Have you ever been starstruck when photographing someone? How do you overcome that?
Oh yes, I might get starstruck momentarily, but I try to quickly switch my focus to the shoot and the tasks at hand to capture the best images possible.
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