Thursday, June 12, 2008

Photographer Profile: Kip Terry

Our irregular series of articles on LA music photographers continues with Kip Terry, who has taken shots of such local acts as The Airborne Toxic Event, The Movies and, The Western States Motel.

We caught up with him recently for quick round of Q & A.



How did you start taking photos? And doing music photography?

I'd taken snapshots since I was a kid, but strangely became passionate about it after identifying with an Ansel Adams quote I read about two years ago. In the quote he said he knew he'd fallen in love with photography once he'd found he could show the beauty in a simple rock. This coincided with me believing beauty is in everything, and through photos I'm able to relate this. Ironically, I'd spent years working with photos at film studios and a record label, but didn't get into photography until reading that article.

The source of my interest in music photography comes from the many albums my parents had while I was growing up. I was fascinated by them and loved how they all told a story and set a theme for the collection of songs. Much later I began shooting a friend's band during rehearsals, then their live shows.




What do you like about it most?

I love having a part in a band's image. Photographs are such key components to marketing, promotion and publicity for bands and keep the fans up to date with a current image. There's nothing better than reading fans' raving photo comments online or hearing them in person at shows. They're really excited by them.



What was the best time you ever had shooting a band or show?

The best time I had was taking photos at a friend's band's first performance at the Knitting Factory. The venue was filled with screaming MySpace fans, friends and family. Both the band and the fans couldn't be more anxious. There wasn't much room at all near the stage. I had to be quite creative with respectfully stepping over fans trying to get a good shot.

Where can people find your work?

Right here.

All photography by Kip Terry.

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