Next up we have Jazz: The Rebirth of Cool winner, Adrien Tillmann! Adrien’s photography work is dedicated to the Jazz world and can be seen across the globe, including on the walls of the legendary New York Jazz clubs The Village Vanguard and Birdland. His photos have been published in the New York Times, New York Post, Downbeat, Wall Street Journal, JazzTimes, NYC Jazz Record and many more.

How did it feel to be nominated in the Abbey Road Music Photography Awards 2024?

Being nominated for the Abbey Road Music Photography Awards 2024 feels absolutely surreal. Abbey Road Studios holds such an unparalleled place in music history, and to be recognized by such an iconic institution is something I’m still processing. After years of dedication to photography—through all its highs and lows and moments of questioning if this was the right path—this recognition feels like a profound affirmation. It’s a reminder of why I fell in love with capturing music and musicians in the first place, and it solidifies my belief that I’m right where I’m meant to be.

Why do you think it is important to create a platform like the MPAs to showcase music photography?

The MPAs provide a vital platform for celebrating music photography, which doesn’t often receive the recognition it deserves. There are few organizations solely dedicated to showcasing music photography with such a prestigious and qualified jury, including industry icons such as Rankin and Rolling Stone photo editor Sacha Lecca.

Typically, music photographers work in the shadows, capturing iconic moments behind the scenes, and the MPAs are remarkable in how they make the invisible visible, shining a light on the artists who document the stories behind the music.

One of the things I find most valuable is that the MPAs are free to enter, which opens doors to emerging artists and photographers who may not have the means to pay for submissions. Early in my career, when money was tight, I faced difficult choices between submitting work to competitions and meeting basic needs, and I know how significant it is for others starting out to have opportunities like this.

The MPAs also foster a sense of community and support beyond the award itself, with exhibitions in prestigious venues such as the Royal Albert Hall and Outernet London, as well as features in respected publications. This commitment to building a network and platform for music photographers is invaluable, and it’s inspiring to see the impact this platform is having on the field.

Have you seen any benefits to you since being nominated?

Since the nomination, I’ve definitely noticed a boost—I've been getting lots of emails from colleagues, musicians, and clients, which has been amazing. But honestly, the best part has been hearing from former MPA awardees and other nominees. Music photography can sometimes be a solitary pursuit, so connecting with others who share this journey has been truly meaningful. It’s a bit like meeting alumni from your alma mater—a natural sense of connection and community. I hope there will be more opportunities and events to continue building our music photography society and strengthen this network.

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Getting Started:

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How did you fall into music photography specifically?

I never formally studied photography or planned on making it a career. I grew up completely immersed in music—my dad was a melomaniac, so there was always music playing at home. That passion stuck with me, and I later played bass in bands, which eventually led me to start my own recording and rehearsal studios near Paris. Those studios quickly became music venues too, bringing in artists from all over.

Later, I moved to Barcelona, expanded my work, and started an art and consulting agency (which eventually became an official partner of the Google Cultural Institute). This led me into cultural projects such as helping to design clubs, exhibitions, and art installations in hotels and restaurants. At one point, an investor asked me to help create a Jazz club—a space that would mix live music, art installations, and constantly changing street art on the walls. We transformed an old bank into this vibrant art and music venue. It took off quickly, but we had spent the budget on the venue, artists, and events, leaving nothing for a photographer. So, I decided to grab a camera and document it myself.

I was immediately hooked on capturing Jazz. It was the intersection of everything I love: music, visual arts, helping artists, and tech. I dove deep into the style, studying the legendary photographers—Herman Leonard, Gjon Mili, William Gottlieb, Roy DeCarava to just name a few—who had documented this music for decades. I was moved by how Jazz photography has always been more than just capturing images, and was a way of supporting and documenting a community, especially in an era when Black musicians often faced discrimination and had to fight for their fundamental rights. Jazz photography played a part in the struggle for equal rights, showing the world the dignity and brilliance of these artists and the culture they represented.

Soon, I was following musicians to festivals across Europe, and eventually, someone told me that if I was serious about Jazz, I needed to spend time in New York. Six months later, I sold everything, packed a suitcase and one camera, and headed to New York to follow the music where it had gained its prominence.

Was there a particular image, body of work or photographer that was a major inspiration when starting out?

When I started out, a few photographers had a profound impact on how I viewed music photography. Herman Leonard’s work especially stood out. His images are not only visually iconic but also carry a deep sense of purpose. As a white photographer documenting an African American art form, Leonard put emphasis on showing the dignity and individuality of musicians who were often denied basic rights. His work did more than capture moments—it told a story of resilience and brilliance in the face of adversity. That mission to portray music with respect and authenticity resonated with me from the beginning.

Then, there’s Roy DeCarava, whose work I see as a masterclass in using darkness to reveal depth. DeCarava had an unparalleled way of working with light and shadow, telling stories through what he left unseen as much as through what he captured. His ability to pull emotion and narrative out of subtlety showed me the power of restraint and detail. DeCarava didn’t just document Jazz, he documented a world around it, showing the reality of African American life in ways that few others had.

Gjon Mili’s work inspired me in a different way, with his pioneering experiments in multiple exposures. He used innovative techniques to capture the essence of movement, energy, and dynamism, bringing an almost otherworldly quality to the subjects he photographed. His creative risk-taking showed me that technical experimentation could elevate the artistry of photography.

Lastly, though unexpected in the music world, the Düsseldorf School of Photography, particularly Hilla and Bernd Becher, had a lasting influence on me. I first saw their work at MoMA, and a caption struck me deeply: 'If you want to represent a subject well, you need clarity, not sentimentality.' The Bechers’ dedication to clarity over emotion has shaped how I approach my subjects. Stripping away excess and focusing on the subject’s raw truth is something I strive to carry into my own work, bringing a similar honesty to
documenting music.

What makes a good subject in music photography and what makes a good music photographer?

A great subject in music photography is someone who fully embodies the music—they’re expressive, dynamic, and deeply connected to what they’re creating. Whether it’s a musician lost in a solo or band members feeding off each other’s energy, the best subjects draw you into their world. They give you a glimpse of their passion and intensity, making the viewer feel as if they’re right there with them, sharing that intimate moment.

A good music photographer, on the other hand, knows how to capture that essence without disrupting it. They’re patient, observant, and know when to blend into the background to let the music take center stage. A skilled music photographer also understands the technical side, of course, but beyond that, they have a sensitivity to timing and emotion. They don’t just shoot what’s in front of them—they interpret it, finding ways to translate sound and feeling into a visual language that resonates long after the music fades.

What advice would you give to someone getting started?

My advice to someone starting out is to find your niche, commit to it, and dig as deeply as you can. Explore every angle and aspect until you truly understand what makes it unique. Leave your ego aside—focus on capturing the best in your subjects rather than imposing yourself on the work. It’s all about showing the essence of the people you’re photographing and doing justice to their story.

Maintain a sense of elegance in your approach, and remember to bring in drama without tipping into melodrama. Real emotion often speaks louder than exaggerated moments. The best music photography is honest, powerful, and unforced, so aim to build that balance of respect, creativity, and authenticity in every shot you take.

From a technical perspective, I recommend starting with a single camera and just one lens—such as a 50mm f/1.4 or f/1.2, which is excellent for capturing low-light settings such as Jazz clubs. Stick with this setup for a year or two to truly master it before transitioning to zoom lenses or exploring other types of lenses.

How did you go about building a portfolio?

Building a portfolio is one of the most challenging parts of the journey—and in many ways, it’s a lifelong process. It’s not just about putting together your favorite images; it’s about striking a delicate balance between what you want to say and what resonates with others. A strong portfolio should reflect your unique perspective and style, but it also needs to include images that have an impact on viewers. Listening to feedback is essential because sometimes others see something in your work that you may have overlooked.

It’s important to let a portfolio evolve over time. Early on, it’s tempting to include every image you’re proud of, but as you grow, you start to understand which pieces truly represent your vision and your journey. A portfolio should be a curated reflection of your voice as an artist—not just a collection, but a narrative that shows where you’ve been, where you are, and hints at where you’re going.

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Top Tips:

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What are your top tips you can give to any music photographer?

Know Your Subject: Immerse yourself in the music and the artist you’re photographing. Understanding their style, energy, and story allows you to capture moments that feel authentic and meaningful.

Focus on Timing: Music photography is all about timing. Be observant and wait for the right moment rather than shooting constantly. Watch for those split-second expressions, the peak of a solo, or the way light hits a musician just right. Patience and precision make all the difference.

Respect the Scene: Blend into the environment so the musicians and audience feel at ease. This respect allows the scene to unfold naturally, making your photos feel genuine and unobtrusive. Often, the best shots happen when the subject forgets the camera is even there.

Balance Drama with Subtlety: Capture the intensity and drama of a performance, but avoid over-the-top effects. True emotion can be powerful without the need for excess. Aim for a balance that brings the viewer into the moment without exaggeration (I broke that rule a few times).

Stay True to Your Style: Experiment and grow, but stay connected to what makes your work uniquely yours. Trends come and go, but your perspective is what ultimately sets your work apart.

Embrace the Journey: Music photography is a continuous learning process. Don’t worry about perfection in every shot; focus instead on capturing the heart of the moment and allowing your work to grow over time.

Remember It’s 50% Art, 50% Business: The artistry is only half the job—the other half is networking, making connections, and running a business. Building relationships with artists, managers, and other photographers is essential for long-term success. Treat the business side with as much commitment as you do the creative side to ensure your career can grow sustainably.

What are some post-processing techniques that can enhance your music photography?

In my view, the best music photography happens in-camera. The less post-production needed, the better the image often is. Overprocessing can easily take away from the authenticity of a shot, and I’m not a fan of seeing images where details have been erased, or shadows and effects added that weren’t there originally.

When I do use the post-processing , I keep it minimal - only enhancing contrast, adjusting exposure slightly, or fine-tuning colour to ensure the atmosphere is true to the moment. Though I should say, this is just my personal taste and approach—some photographers do the opposite and create incredible work, just look at the work of Andreia Lemos, 2024 MPA winner.

Live:

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When shooting a live show, how do you prepare? What challenges do you typically face?

When shooting a live show, photographers generally fall into two camps: those who do extensive research on the musician’s previous work, photos, and videos, and those who prefer to jump in and experience the performance fresh. I find myself somewhere in the middle—I avoid over-preparing because I don’t want to
be influenced too much by what’s already been done, but I still do a bit of groundwork to ensure I’m not reinventing the wheel and I undertand the dynamics of the artists I'm photographing.

There are always challenges in live photography. Often, there’s a strict time limit, with organisers allowing only the first two songs for shooting, which forces you to work quickly and adapt on the fly. Sometimes, you’re limited to specific photo locations in the venue, which can restrict your range of creativity. My favourite experiences are when I’m hired directly by the band and have the freedom to move around the venue. Being able to shoot from unique perspectives—such as from behind the stage or angles the audience doesn’t typically see—lets me capture the performance in a way that feels fresh and more intimate.

Do you have a preference of working on location/on tour vs in a studio?

I find both settings—on location or on tour, and in the studio—equally fascinating, each offering a different window into a musician's world. Shooting on location or on tour lets me capture the raw energy and unpredictability of live performances, as well as the candid, in-between moments that reveal a lot about the artist. There’s a sense of storytelling that unfolds naturally, allowing for dynamic, immersive shots.

In the studio, on the other hand, there’s a unique intimacy and control. The artist is in a more personal, focused space, and it allows for portraits that bring out subtler, quieter aspects of their personality. I love the challenge of working in both environments, as each reveals different sides of a musician’s life and offers the chance to create a diverse and complete narrative.

Creativity / Inspiration:

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Can you share some insights into your creative process? Are there any specific techniques or equipment you prefer to use?

My creative process is largely instinctive and responsive—I work on the fly, always keeping in mind the traditions of Jazz photography. I see myself as building on that tradition, respecting its roots while adding my own branches to it. I try to bring elements of Jazz itself into my photography; for instance, a Jazz solo is something completely unique and unrepeatable, much like a long exposure photograph. Both capture a moment that’s fleeting, never to be replicated in the same way.

Another music analogy: To me, a raw image is like a music score—it’s something you develop once, but you might return to it years later to reinterpret or adjust it, much like a musician reinterpreting a piece of music. I might change the cropping, adjust the tones, or see it with a new perspective, revealing something different each time. I didn’t come up with that concept myself—I believe it was originally said by Irving Penn or W. Eugene Smith. Smith’s work is incredibly insightful and well worth studying (see the book The Jazz Loft Project).

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?

This is the million-dollar question, and honestly, it’s hard to describe. I often just know it when I see it— that’s why we take photographs, to capture something that transcends words. A remarkable photograph has an unspoken quality, something that draws you in and resonates in a way that can’t always be explained. And sometimes, I don’t even realize it right away; I might like a shot, but it’s the feedback from my viewers that makes me see there’s something in it that truly connects with them.

I don’t really prioritise specific elements when framing a shot; it’s the scene, the context, and the musician that ultimately dictate what the photo will become. I try to capture them in relation to one another, creating a sense of perspective, or sometimes I’ll go for an extreme close-up to highlight a particular detail. It’s hard to put this into words because everything is so deeply tied to the emotions of the moment. My framing is often more about responding to the energy in front of me than following a specific rule.

Do you think there’s a genre of music that naturally lends itself to photography?

Jazz, ahah! That’s the genre that brought me into music photography, and it’s where I learned, developed my style, and began to understand the deeper rules of capturing music visually. But in all seriousness, every genre has something fascinating to document. Each style brings its own rhythm, emotion, and visual elements that make it unique. Alongside my Jazz work, I’ve had the chance to explore many other genres with a similar sense of elegance and depth. I’ve documented Cuban music, Arabic maqam, tango, qawwali, religious music, classical Indian and Western music and so much more... If you love music, you’ll find peculiarities and beauty worth capturing in every genre. In the end, it comes down to what resonates with you; each genre has its own way of speaking to you as a photographer, drawing you in, and challenging you to capture its essence.

Who is someone, alive or dead, you’d love to photograph?

I’ve been fortunate enough to photograph a lot of the Jazz scene, but in my wildest fantasies, if I could go back in time, I’d have loved to have captured Pavarotti, David Bowie, and Miles Davis. As for today, there are a few icons who are definitely on my bucket list. At the top, I’d say Keith Jarrett and David Gilmour.

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Working with Artists:

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How does your approach differ when working with upcoming talent versus established artists?

I truly strive to treat everyone with the utmost respect—whether they’re just getting started or they’re already a star.

** Can you share an interesting or memorable experience you've had while collaborating with an artist?**

Choosing just one memorable experience is hard—there have been so many. But working with Brian Jackson definitely stands out. When I first arrived in New York, I had the chance to photograph and film him at a few gigs and even followed him, along with Charnett Moffett, on some travels. Hearing Brian’s stories about music history, the scene, the stories behind his songs, and his anecdotes about his collaboration with Gil Scott-Heron was truly incredible. He’s not only a legendary musician but also a genuinely kind and grounded person.

How does the photographic process differ between working with introverts and extroverts?

As an introvert myself, photography has been a powerful tool that helped me connect with people I didn’t know how to approach, enabling me to grow both personally and professionally. I had to learn how to adapt to different personalities. With extroverts, the process often flows easily; they’re usually at ease in front of the camera and open to interaction. With introverts, however, I take a different approach—sometimes it’s about projecting the right energy to make them feel comfortable, while other times it involves maintaining a respectful distance, giving them space so I can capture genuine moments without intruding on their comfort. Each interaction reveals a unique side of the photographic process, and learning to work with both types has been an invaluable human experience.

Have you ever been starstruck when photographing someone? How do you overcome that?

Yes, absolutely—I was totally starstruck when I photographed Spike Lee with Roy Ayers. I’d love to give you some advice on overcoming that, but honestly, I didn’t! Mr Lee was so nice, and even tried to chat with me, but I felt like I had nothing interesting to say, so I just politely (and probably awkwardly) smiled, shook his hand and carried on with my job. I hope he reads these lines because I hope someday to be able to speak with him about his work and his brother's photography.

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In one word, how would you describe your photography?

Jazz.

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