2024: Back in 1999, Oasis had just started their “Standing on the Shoulder of Giants” tour when they made a stop in Chicago for the Q101 Twisted X-Mas concert. I was Photo Editor for Rolling Stone.com at the time and so I had special access backstage, I was also moonlighting for a British website called DotMusic. It being a British site it focused on music that wasn’t on the radar in America, thus, I could do both with very little (if any) conflict.

Earlier in the evening I had placed a photo of Liam and a photo of Noel that I took back in ’97, out on the table that the radio station had setup for a variety of things to be signed.

I just happened to be in the wings when Liam walked up to sign and he stopped his tracks when he came to my photo. Liam can be very difficult to shoot, he stands at the mic with his hands behind his back and it’s not the most compelling moment to shoot. However, I took a shot that night at the Rosemont Horizon when he went to get a drink during a guitar solo, I caught his eye and he gave me the British “Up Yours” gesture. I thought it had energy and a edge to it. But when Liam stopped and stared, at what seemed like forever, I though “oh no, he hates it!” But seconds later he nodded his head, signed it and moved on, whew!

Later that night I was side stage watching Fiona Apple, when out of the blue Liam walks up to me. It was during her song “Shadow Boxer” when he leaned in and says, “I love this song”. That’s all I remember of the conversation other than the fact thinking I can understand every word he’s saying. Soon, we would get kicked out of the area and I remember as we walked out Billy Corgan trips over a few cables, Liam grabs my shoulder and we have a laugh over it.

Later after their set, I saw they were slowly heading to the bus, I ran and got my flash and walked up to Noel and asked if I could get a quick photo of the band. It was a new line-up with guitarist Gem Archer and bassist Andy Bell and I thought it would be a good shot for DotMusic. It being film, I took one frame and as they walked away, Liam took a look at me, nodded, patted me on the shoulder and walked off towards their bus.

2023: It’s not all glamour when it comes to my job. Case in point, I was invited to cover a pop-up that was coming to Chicago and it was fraught from the beginning. To start with, my 16-35mm lens stopped working as I walked into the space. It had rolled off a table weeks ago but appeared to be fine. In fact, I’ve used it for weeks without a glitch. However, today is a different day and I should have sent it in for safe measures, lesson learned.

I did have a back up with my 24-70mmm but not my preferred lens for spaces. Regardless, a minute after I walked in I was greeted by a PA that walked me back to the meet and greet area. The pop-up was the mau5hop Pop Up by the iconic DJ deadmau5 and I was actually looking forward to working with him… until I wasn’t!

I’ve shot him for years and worked with him once at the Sundance Film Festival back in 2012. I was the house photographer at the Park City Live venue and he was performing that night with rocker Tommy Lee. I unfortunately had lost my voice that week (I’m pretty sure there’s a joke about the photographer that can’t or shouldn’t speak, but haven’t cracked it yet!!).

But let’s get back to the pop-up, the team didn’t seem to understand that I was also there to take shots of Joel (deadmau5) at the pop-up and not just later at his show at Radius. I explained the ideology and I was told they wouldn’t be able to accommodate until after all the fans went through the line, come back in about 45 minutes.

So I shot the space with and without fans and went home, which was 10 minutes away, mainly to see if my old 16-35mm lens was in working order. Answer was no. So for “shits and giggles” I tried the broken lens on my other camera body and BOOM it started working. Don’t argue just be happy with the little things. Aside from the obvious that I could physically see the shot in focus I realized the camera would glow “blue” if it locked in focus, otherwise it would flash “red”.

When I arrived back there was still quite a line. Joel and his team, to their credit, was going to satisfy all of his fans that came out to say hi and get their merch signed. So while I waited, I decided I might as well photograph some of the signing. Usually I’m encouraged to do so, but I’ve had a weird vibe from the moment I walked into the meet and greet area, so I asked if it was okay. A meeting of the minds occurred and then they said sure, but NO FLASH! Okay, I accommodated and then as I walked up, the big security guard stopped me and said, that’s close enough don’t go any closer, the bad vibes continue.

I shot a few but not what I would usually do, such as getting him to look at me, pen in hand, but okay, this is not the main reason I’m here.

As the last few fans wait in line, I’m suddenly asked if it would be okay to just shoot him with the orange mau5 logo behind him. I paused and said I already shot him there and it’s not really the point of the shoot. It’s HIS pop-up and the point is to get him in the actual pop-up. Surprisingly I got no resistance.

But again I was told NO FLASH who continued to explain to me that the space was “well lit” and it wouldn’t be needed. I always appreciate someone educating me on the environment and the tools I need to execute my job. I responded by saying that adding artificial light is to enhance the shot such as filling in the shadows and has nothing to do with how well the space “appears” to be lit.

Also while I waited, I asked about the evening shoot of what time I should arrive and that I was bringing equipment for the backstage shoot and I may or may not have a assistant with me. I asked the PA for her number in case I had any issues and she seemed to blow off the request and just said my credentials would be at Will Call. I then asked, what should be a dumb question, but if I had a back stage pass. Spoiler alert, not a dumb question because the answer was no. Kind of hard to do a backstage photo with no backstage pass. She then reluctantly gave me her number.

But I digress, when it was time to do the shoot, a few of his people walked up and then, and only then, I realized no one told him that a photographer was here to take photos of him in the space. Really? WTF!?!

First off, I was invited and I could clearly see they were trying to put the publicist under the bus, or at least it came across that way. Two, I was in a text chain with his tour manage for the last 24 hours and if he wasn’t informed, it was on his people, plain and simple!

Regardless, the smoke cleared and we began walking to the first spot, I tried to engage with small talk but Joel not only ignored me but didn’t even acknowledge me.

To be honest, the pop-up space was cool but when all was said and done, photographically there were only a few key locations. My first spot was the art installation that is his helmet that stands out because it’s very colorful. in a perfect world, I would have him get behind it, peaking out from the top, sure, that could have been a fun photo, but this was what I got, meh.

But I wasn’t done, I asked if he would be game for one more shot. It was a life-sized Funko box. Once again SILENCE, I don’t believe he ever spoke a word to me. However, he followed and proceeded to stand in FRONT of the box. I wasn’t expecting him to stand in FRONT of it, so I said, would you be okay to go inside? Again he didn’t speak, but he did accommodated my request. I suppose in retrospect I should have shot him in front of it as well. But in my experience it’s also possible he would have just walked away after I pressed the shutter acting like it was “mission accomplished”.

This clearly is THE SHOT for the pop-up! With all the hoops I went through I can’t believe I pulled it off in the end. I went in to get a little tighter shot and it appears he started to loosen up. I honesty couldn’t tell and I didn’t want to push it.

I said thanks to everyone and walked up to the PA and asked if he would he aware of my presence this evening and again a awkward acknowledgement.

In retrospect, I should have at this point had a pow wow to discuss if the quick portrait session made sense at all. I don’t think his people wanted to deal with it nor Joel wanted to participate in it. Good or for bad I left before processing that thought.

I went home, picked out, Photoshopped, uploaded the selects to Getty Images and headed out to a corporate shoot prior to going to Radius.

My assistant fell through, who was actually just a friend that was going to hang out and I arrived shortly after 11pm. Radius is a venue that I have only shot at once. It was a year into the pandemic and Todd Rundgren was doing paid streaming concerts at the space. I came out for Forbes and shot some of the concert rehearsals and shot a fun portrait on the stage.

So I didn’t have a lot of experience with the area but it became clear pretty quickly that there was no street parking for me to even unload so I texted the PA…

She initially responded but went radio silence after her first text. Let me be clear, I don’t usually request assistance but the area surrounding Radius is pretty sketchy and if I was just shooting the live set, I never would have bothered them. But I had equipment and as you can read above, it was also raining. At least pretend you are helping, looking into options, etc. like if I can get in the back to unload my gear. There has to be a load-in and load-out area but I got nothing. I waited for 15 minutes for a response, driving around trying to see if I had any parking solutions. Then I reached out to the original publicist and tour Mgr…

I waited for another 15 plus minutes to hear from them and again nothing so I was done. In the end I wasted an hour and a half driving and circling in the rain when I could have been home Photoshopping the corporate gig drinking wine. Next time I will trust my gut!

2022: We all have those movies that made our childhood. Some are guilty pleasures and some become modern day classics. National Lampoon’s Christmas Vacation has slowly become the later. In this movie and film series, Chevy Chase created a character with Clark Griswold that finds a balance of being clueless, yet some how lovable, that is everyone’s Dad. It’s a character made for him and that only Chevy Chase could pull off.

So when I heard and eventually got hired to cover this event of “Chevy Chase lights up Raising Cane’s for the holidays” in the suburbs of Chicago, I was all in. It was promoted as Chevy coming in character as Clark Griswold with Raising Cane’s founder Todd Graves, to “plug in” the more than 13,000 holiday lights on the Restaurant to kickoff the holiday season. Sounds pretty simple right? As I soon found out, nothing is ever that simple.

First off, I think the sheer out pour of people on that usually warm November night was much more than they anticipated. On my way to the shoot I got a call from the publicist, usually a bad sign, but instead warned us the area was a “shit show” and directed us on how to maneuver and park inside the secured area. The writer and I got in fine but as I was grabbing my camera gear, security started to throw us out as the publicist arrived and once again saved the day.

This is where it gets interesting, I am brought into the mix of it and along with hundreds of people flanking the restaurant, there’s clearly a bigger production that is usually used with a event. I start talking with the DP and he informs me that this being an event was news to him and had only found that out yesterday. Now it all makes sense, this is not just an event, it’s a commercial shoot.

First set-up was Chevy and Todd arriving at the restaurant. As you can see there’s teleprompters surrounding them and this is clearly not set for the general public.

The second set-up was more what I expected when I arrived that evening. The gathering of fans to help kick off the holidays with the lighting of the restaurant with special guest Chevy Chase and founder Todd Graves.

It was interesting to be privy to the process of making the commercial. I think anyone that knows a little about Chevy Chase’s reputation knows he can be difficult. Now although he did at times come across a bit harsh, I’m not sure he was wrong about trying to make the best of it all.

From there we went inside for the final shot and I more or less got my portrait. The space was lit for the commercial and after a few takes, with Chevy eating the whole time, I was given my cue to get a shot with the two of them.

As a photographer, you always have that desire for one more shot, it’s almost a clique at this point and sometimes you get it and sometimes you don’t. This was one of those times you don’t. Still, a successful shoot that could have been a train wreck at any given moment.

2022: Sometimes shoots happen quickly and unexpectedly. I was already booked to cover the New Order and Pet Shops live show and then the day before, I was asked if I was available for a portrait of the DJ legend Paul Oakenfold, whom is also on this tour but has not been heavily promoted. I’ve photographed Paul over the years but never a portrait.

My writer Jim Ryan and I showed up at 3pm and met up with Paul’s tour manger Jay. We met Paul, who eagerly gave us a tour of the bus, that included a sweet walk-in shower and then I set out to find a location. I had no idea where I was going to do the portrait but just knew I didn’t want to do it on the tour bus. Jay explained the stage was on lock down and that I couldn’t even shoot in it’s direction.

The Huntington Bank Pavilion at Northerly Island is right on the water front of Lake Michigan. But in order to get to the beach you have to leave the backstage and head outside the venue. We took a stroll to the back of the lawn area that revealed a clearing of the beach that would work great. Jay liked the idea and we went back to the bus.

Paul agreed and we headed to the beach, I quickly set up the light and we began shooting.

It’s funny we could be at a tropical location on a hot sunny day but as you can see, I am clearly wearing a hoodie, it’s almost October in Chicago.

I showed Paul the first shot, which can help sometimes and instantly put the artist at ease. Just one soft box was all I needed and I could let Mother Nature fill in the rest. There wasn’t a cloud in the sky it was beautiful. However, for some reason my light wasn’t playing nice and it did throw me off a bit when you have to have one eye on the soft box to see if it’s popping. There must have been interference with my remote.

Looking at it now, they both work for different reasons. Just letting Mother Nature do the job clearly makes it more dramatic. I think I like both of them but it works the best when Paul is looking towards the sun.

Paul is clearly having fun which is all that matters. Above is when the light popped and below is when I really needed the light to play nice…

Hmm, actually it still works doesn’t it but just wasn’t what I was going for at the moment. It’s always different looking at the images after the fact and realize all that anxiety was for naught.

I only had so many options on the water line so I asked Paul if he was still game for another spot. I think he was both happy at how quickly I was shooting and was having a pleasant time. With that in mind, right behind me to the north, I saw a very different vibe of a tree lined path.

On location can be challenging to find a clean background, whether it’s free of people, or free of unnecessary objects such as cars, garbage cans, etc. This location had a bit of that but was mainly in the background out of focus. You have to pick and choose knowing they can always be removed in post. The key is to control the eye of the viewers and not have them wander into distractions that take away from your composition.

I can still see the cars in the parking lot in the background, probably should be removed but I might be nitpicking a bit.

There weren’t any props for this shoot, or at least I didn’t think we brought any but I was wrong. Paul brought at least three pairs of sunglasses that he switched out through the course of the session. Definitely added to the photos.

Towards the end of the shoot, a Chicago Segway tour came by and the tour guide, knowing there was a concert that evening, guessed wrong on who was the star of the photo shoot. Again to be fair, for some reason Paul is not being heavily promoted as part of the tour. So the guide said something like hey everybody it’s the Pet Shop Boys. Paul just smiled and didn’t correct him.

As we were heading back to the venue and backstage, a group walked up wearing Pet Shop Boys t-shirts whom were very excited and clearly had been informed of meeting one of their favorite bands. I think we are here to see you tonight, they blurted out. Again, Paul never corrected anyone and just had fun with it. Paul engaged with them, took a photo and even at one point said it’s going to be a great show, not sure about that DJ though. Really shows you the lack of ego but doesn’t say a lot for the guys that are the REAL Pet Shop Boys.

Back at the bus Paul grabbed a few beers and had a nice chat like old friends catching up, all on a beautiful fall day.

2022: The Beach Boys are one of those Americana bands that instantly bring up a sound, a time, with the sun and beaches that is all California. So when one of the founder’s of the icon band’s name came up for me to shoot, I was all in.

Al Jardine might not be a household name but if you know The Beach Boys you know his importance to the band. He was there from the beginning, sung lead on the Number 1 hit “Help Me, Rhonda” and suggested the band cover (probably my favorite song of the band) the folk standard “Sloop John B”.

Al arrived shortly after his sound check with his bass player and Beach Boy alumnus Ed Carter and his son Matt Jardine and I was ready.

After shooting a few with the black backdrop, I dropped it down for white seamless and attempted a homage to the classic Capitol Records 45’s. The idea of creating a backdrop with the yellow and orange swirl label was all by my writer Jim Ryan. I had my handy gels ready to go when when Matt suggested we should have a guitar. I said it’s funny, I actually requested one and that would be great. I wish it would have happened before I dropped the black but it makes the photos and my approach very different.

Al suggested, or maybe requested, he didn’t wear the guitar since he was nursing a sore shoulder. I explained I didn’t have the backdrop set up for a full body shot, which I didn’t, but the truth was the shot was going to be more dynamic if he wore the guitar.

The gels didn’t quite do what I hoped, the orange gel has a more red pinkish hue and tried to take over the whole background, but it still has a cool feel.

It was interesting when I explained what I was doing with the gels he got the idea immediately. Al seemed to let his guard down and he told us a story on how in the old days a photographer, whom I believe was Guy Webster, use to get him and the boys hyped up during a shoot. He would get them to go “yeah” and flail their arms about. So I said okay let’s try it and that was what the shoot needed…

Al continued bringing the energy and gave us a impromptu session of “Luau” the b-side of The Beach Boys first single, “Surfin'”. Which was a practice run because he later performed that night at his show.

It was a lovely time working with Al and so happy for the opportunity.

With that said, I was still not happy with the results of the gels. So in post, I recreated the background for these final results…

I think I pulled it off!

2022: Back in 2003, I was hired by Rolling Stone Magazine to cover the tour opener for what would become the last traveling Lollapalooza. It was a fun day in Indianapolis that included a press conference with a new band called Audioslave. I ended up having a good rapport with the tour publicist, Laura Cohen who called me a week later and asked for my advice. She asked, how she could keep consistency with photographers from venue to venue. I said in my opinion, the only way is to hire a photography that fits your needs. Otherwise you “get what you paid for” by using the local house photographers. Many of them are not even getting paid and are doing it to get into shows or add the photos to their resume. Next thing you know it, I’m flying out to Boston and I’m the tour photographer sleeping on the Jane’s Addiction tour bus.

So there begins my relationship with Perry Farrell and his wife Etty. Now with Lollapalooza being a stationary festival in Chicago since 2005, I have been connected with them and the festival for almost 20 years, including getting engaged on stage with help by Perry and Jane’s Addiction.

It’s been quite a ride. Jump to this year, after coming out to LA earlier in the year for a project that Perry and Etty are working on…

I was all set to see them at Lollapalooza for several shows in Chicago. Originally it was suppose to be with Jane’s Addiction but Dave is sadly still dealing with long term Covid and was unable to tour. So instead, Perry dusted off his second band Porno for Pyros, a band I have never seen or shot. They did play one night on the 2003 Lolla tour, but that was one of the last shows and I had passed the baton to my fellow photographer and friend, John Shearer.

Porno for Pyros first played on the rooftop for the annual Founder’s Party, a private intimate show and then was playing on the Lolla stage for day four of Lollapalooza.

However, the night before, they were also going to do a after show at The Metro. I thought this would be my best opportunity to do a portrait, in particular, the stairwell leading to the stage.

Which is exactly what I did. After their rehearsals in the green room, I tested my light and composition and was ready as they made their way to the stage.

If I had more time, I would have added more lights but I think it came out pretty well.

2022: I remember Shelia E. from her music videos on Mtv and of course her connection with Prince. I saw her a few times through the years including the time she came out with him at Coachella. So when I was asked to do a portrait how could I say no? The challenge with City Winery in Chicago is I need a backdrop. I originally thought maybe I would bring a purple one but perhaps too on the nose? So I got in early to set up and had an idea to gel a light. I haven’t done this in years but still wanted to see if I could deliver a purple tease. In my limited time I also challenged myself to switch the backdrop during the shoot. I decided to start with the white and let the gel bleed into the background.

Shelia E. arrived and I was surprised to see her still in her winter coat. She initially seemed a little guarded but quickly loosened up. Although I didn’t bring a purple backdrop the gel fell onto the background with a satisfying result.

I felt I had what I needed with the white backdrop and did a quick change and within minutes I had the black up and ready for another round. The purple gel added a subtle tone to the black as well.

I always like to get two different looks at a session and I felt I achieved that goal.

I remember The Lemonheads appearing on The David Letterman show in the early 90s. The story goes, the band was being forced by their label to play their cover of the Simon and Garfunkel song “Mrs. Robinson” and as Letterman introduced them, Letterman suggests they play something else off of the album. Evan Dando thanks Letterman on stage for intervening and after back and forth banter, that includes Evan stating “I’m glad to be doing this song, because I wrote it!” the band goes into their title track “It’s a Shame About Ray.” Evan couldn’t of looked happier to do it and that same energy would be present later that evening on the stage of Thalia Hall, but first, hopefully a quick portrait session with Evan.

I had been talking via text and a few phone calls all day with his tour manager Jim Norton. Not to get confused with the comedian of the same name. We had a great conversation and it was very clear he would try his best to make this shoot happen, but there were no guaranty. Knowing what little I knew of Evan I understood and said I was ready to come anyway, wait patiently and wing it. And wing it is what I did. My writer Jim met me at the venue, got a quick beer across the street and waited outside the venue next to the tour bus, camera bag and lighting equipment in tow. Jim and I started talking about our upcoming shoot with Genesis and what shape Phil Collins was going to be at the show. Suddenly without warning, one of the little windows opens up from the tour bus and a shadowy figure ashed his cigarette. He said hey and we said hey back, it was Evan Dando. We both had an internal panic attack thinking back what was said between us. Did we bitch about the wait, questioning our time spent, what else did we discuss during that time by the bus?

Jim Norton soon appeared and we were left with a lot of unanswered questions. He quickly escorted us inside Thalia Hall and brought us into the green room. I had been back here once with another band and knew enough of the terrain. I said I would start setting up and he went to get Evan. These shootings are tricky because I’ve learned that I don’t get a lot of prep time. I blinked and there was Evan in the doorway. We all said our pleasantries and I assured him I was almost ready to go.

Within a few minutes of checking the lights we were off. Evan had a guitar so it was helpful and the background was perfect, run down brown couch with a nice simple brick background. I shot a few and then showed Evan the shots which seemed to quickly change any thoughts of this being a waste of his time.

He started to play and seemed to genuinely having a good time. I noticed the guitar had been through some hard times and he told me that it was a result of a ex-girlfriend. I said that sounds like the beginnings of a song and he said with a slight smirk, “I’m working on it”.

I then thought of one more shot if he was game, I grabbed a light and we went around the corner to the stairs that led up to the stage. I had shot the previous band on those stairs and I’m a fan of simple things like the painted faded words with a arrow that simply says, “STAGE”. Evan sat down and I decided to go more with a harsh shadow almost “film noir” like for this one.

In post I rendered a few in B&W and the result were pretty great.

Update: Since this time, management has purchased a few of the photos and here’s one of them used for The Lemonheads upcoming tour.

2021: When I accepted the shoot at Chicago’s City Winery I wasn’t aware it happened to fall on Father’s Day. Yet here it was and still in a pandemic, granted, we were in a better place than a year ago, but still not out of the woods. I, like many people with half a brain, were now fully vaccinated and with that, saw a possibility of life getting back to something more normal. So I can make this work, I’ll bring my six year old daughter to the portrait session and then stay for a small portion of the show. Now who doesn’t remember Tiffany and her breakout cover of the Tommy James & the Shondells “I think we’re alone now” song? Well for one, my daughter, but she’s hanging out with Dad and she’s a fun assistant.

My daughter Emma and I rolled out the paper, set up the lights and she was happy to help me along with the writer Jim with the lighting tests. After a few adjustments and numerous poses, we were ready for Tiffany.

These shots were a great start…

I always try to come up with more than one set-up with every portrait session but City Winery can be a tough one. It’s a new building and it’s pretty pristine which makes it a harder space to work with. However, a prior visit I saw these red curtains in the lobby and thought that could work very well as a secondary option. Well luck would have it, they were also upstairs where I had set up the lights as well. Before Tiffany appeared I also did a test of the curtains. Tiffany was game and she looked like she had a lot of fun with it.

I spent more time trying to make the first set up work but this one came together effortlessly. It’s usually the case that the last one is the best.

2020: There are only a few people out there that can get away with having only one name. A few instantly come to mind like Sting, Cher, Madonna and of course Slash. Even if you aren’t a fan of Guns N’ Roses it’s hard not to know of and like one of the most iconic rock guitarists of all time. To get a chance to do a portrait session of Slash is a once in a lifetime event and to top it off during a pandemic, it’s just crazy talk! But here I was getting a call by a publicist I have known for years. I actually missed the call that Saturday but called back immediately. We caught up on our survival skills the last few months and then she told me about the shoot. Slash, as it turns out, is a big pinball connoisseur. Who knew. In fact, he pitched a new Guns N’ Roses pinball game with the company Jersey Jack. I’ll tell you perhaps another unknown fact, Chicago is the pinball capitol of the world. Again, who knew. This is where I come in, as you may have guessed, Jersey Jack resides in the suburbs of Chicago, Elk Grove Village to be exact, which is about forty minutes from here and that was why Libby was calling me. She needed a Chicago photographer and I instantly came to mind. It helps to be in a smaller fish bowl sometimes. We worked out the photographic vision and the budget and three days later I was at the operations of Jersey Jack. I was given the lay of the land and I planned my attack. I had their team organize a row of pinball machines and made sure they were all on and ready for the spotlight. Slash was early, I was introduced to him and he recognized me. I have met him before but I’m not sure he would have remembered me or not. Regardless, good start. I did however start to panic thinking he was going to wear his mask for the whole shoot. For several reasons of course but can you visually see why this particular mask was going to be a issue….?

Yeah, the word FUCK repeated several times is not something I want to remove in post! But I did get one fun shot of it during a test.

Fortunately, that wasn’t how it went down, mask was removed and Slash and I worked out the shot.

The rest of the shoot was capturing Slash walking around with pinball designer Eric Meunier, walking the assembly line and even building some of the cabinets.

It was a good afternoon that was over shadowed by the unfortunate timing of Eddie Van Halen’s death announcement. I was wrapping up the shoot when I heard the news and decided it wasn’t for me to break, Slash was going right into a live interview and I’m just the photographer here in the end.