LMFAO performs at Coachella 2009
Gene Kosoy is a San Francisco Bay Area photographer, specializing in music photography, as well as covering weddings and other events. He shoots with a modern, photojournalistic style that brings out the best in his subjects, and is a great resource for bands and musicians looking for a fresh take on their image. He recently captured some of the amazing imagery of the Coachella music festival.
Jeffrey Winslow: What's your background, and how did you get involved in photography?
Gene Kosoy: I've always dabbled in photography, as a hobby, since I was a little kid. I actually don't have any formal training in photography. I received my Bachelors Degree in Cognitive Science from UC Berkeley in 2003. Right after graduating, I started an event photography site called Phatcat Photo (www.phatcatphoto.com) with my partner Gene Ekster. The focus of Phatcat Photo has always been events, music, and nightlife, so I was around bands and DJs right from the start. Being in the trenches at shows and parties gave me the experience and the eye to capture things as they are, in a photojournalistic style.
After the first few years, I branched out into wedding and commercial work. At the beginning of 2007, I quit my boring corporate job and got an amazing studio space at Bridgehead Studios in Alameda, officially becoming a full-time photographer. After 6 years in the business, I have shot over 1000 events, shows, weddings, and other types of gigs.
JW: Why did you decide to focus your attention on musicians and bands?
GK: Working with musicians has always been a lot of fun. Since I like working with people, enjoy good music, and like to have a good time, music photography was a natural fit. Working with musicians, especially, I find that I am always learning and growing due to the intensely creative and collaborative environment. The finished product is typically very satisfying on a creative level, and when all the different elements of a shoot come together, it's pure bliss. Most musicians I have worked with have been a pleasure, and to me there is nothing more exciting than a bustling photo set with great people.
Live music photography has gone hand-in-hand with shooting promo stuff. It naturally combines my love for music with my passion for photography. When I am shooting bands on the stage, it seldom feels like work, which is another great reason to enjoy it. Travel has been a great perk, allowing me to go to festivals such as Lightning in the Bottle and Coachella.
JW: How has the current economic situation affected your ability to operate your business?
GK: The economy has definitely had its adverse effect on music and event business, although I am not hurting as bad as many of my friends who have been laid off. Overall though, I am doing well since my diversification into weddings, portrait, and commercial work over the past few years has picked up my revenues. Notably, my wedding work has been met with a lot of praise, and that side of the business is the fastest-growing segment, outpacing other parts of the business.
Music photography is still my passion, and my experience has helped me break into weddings with a unique style that many brides like. I actually enjoy weddings, almost as much as music photography, which makes my life much easier. In today's time of digital, I think its important to be diversified in photography, for monetary and artistic reasons. Due to the different challenges in various aspects of photography I am involved in, and all the extra work and experience I gain, I feel that I am always growing as a photographer and as a business owner. I truly enjoy what I do, and the money comes secondary.
JW: Who are some of the bands you've worked with?
GK: I have worked with BLVD, Mouth to Mouth, The Cataracs, John Peter West, Pamella Carter, Kid Loose, Trevor Simpson, Jason Knight. I know a lot of musicians, and typically end up working with bands that I know personally. I have been blessed to work with so many talented artists, and since some of them have gotten good traction, I've gotten my work published in various publications, including Rolling Stone.
JW: Musicians are looking for photography for a variety of different reasons—some need photos for a press kit, some need photos for their album artwork, others may be looking for concert shots. Besides the obvious financial considerations, what factors should musicians take into account when choosing a photographer?
GK: Obviously its important to find a photographer whose style and previous work reflects the band's vision. However, that connection goes both ways, and finding a photographer who digs the band and their music is equally as important, since the photographer will be able to portray the band's message that much better. A photographer who has access to hair and makeup, proper gear, venues, and locations can make a huge difference and takes a lot of the burden from the band. Once a connection is established between a band and the photographer, the creative work can begin, and it's very helpful to have open lines of communication between the band and the photographer in order to avoid confusion and backtracking.
JW: What should musicians do in preparation for their photo shoot?
GK: Proper planning is important, although some of my best shots came from deviating from the original plan. With that said, it's important not to waste time, and at the very least have various options laid out for the shoot. The first step is figuring out a concept, which should resonate with the band and portray their message. Some musicians know exactly what they want, and others are happy to experiment to find the right fit. Location, wardrobe, and styling support the general concept, and I prefer to bring knowledgeable people in each area and put most of my concentration on taking the images. Prep time for hair and makeup can be from an hour to a few hours, depending on number of people; therefore, it's important to expect a lot of downtime, especially when makeup and setting up lights is most of the shoot. A little catered food and some beer does not hurt, and typically keeps the band members and staff more focused on the shoot. Lastly, it always helps if the band is prepared to try new things, even if the ideas seem silly at the time.
JW: As a photographer, what are the things you are looking for in a subject that will allow you to compose the most interesting image?
GK: What I've found is that there is no formula for the perfect image, since every band and musician is so different. I would have to say that truth in the image is the most important thing. As long as the musicians are relaxed, focused, and genuine, their persona and their music will shine through in the photos. Additionally, patience is very helpful, since changing little details around on a shoot nets many images taken over extended periods of time.
JW: If you would, please share some of your favorite experiences photographing bands.
GK: Most recently, it has to be the Crystal Method performance in the Sahara tent at Coachella this April. While I was in the pit, someone told me that a special guest was about to come on. I got into position and these two giant robots came out on stage and started dancing in sequence in front of the 7,000-8000 people gathered there. The two people turned out to be LMFAO—they played about five songs with the guys, and the shots were definitely some of the best I have gotten all year. It was a memorable show, and I had better than front row seats and killer shots to prove it!
JW: What was the strangest experience you had working with a band or artist?
GK: The other day when I was shooting a Cataracs concert at Slim's in San Francisco, the guys got all their teenage girl fans to bum-rush the stage. I ended up waist deep in a sea of wild, screaming teenagers partying up on the stage. In a strange way, my age caught up with me, since I realized that I am almost twice as old as most of these kids. Still a great time, and The Cataracs know how to kill their shows.
JW: What are your favorite venues for concert photography?
GK: The Independent, Slim's, Great American Music Hall, and Mezzanine.
JW: You recently photographed the Coachella music festival. What was that like?
GK: It was amazing. Coachella really is one of the best-run festivals I have been to. The past couple years, I have gone down with my friends from MetroWize (www.metrowize.com). They are an online publication about the inside scoop to city life and partying, and are based out of S.F. but also cover L.A. and Las Vegas. The owners of the site are good friends of mine and they work closely with Goldenvoice in Los Angeles, so they get amazing access for me. This was the second year that I worked for them at Coachella, and this year was even better than the last. It was 105 degrees during the day, so the editorial staff and I would hit up pool parties and at night we would roam around the festival. I always had my camera with me and so I got to cover the festival from a pretty unique angle. Whether it was Anthem Magazine's giant pool party, being on stage with The Cure, or getting right up next to Kid Cudi at an impromptu set at an URB Magazine party on some ranch, I was always able to shoot something interesting while hanging out with my friends.
JW: Were there any performers at Coachella that you were particularly looking forward to capturing in photos? If so, who and why?
GK: At Coachella, my favorite acts were Girl Talk, Ghostland Observatory, second part of Paul McCartney, Crystal Method with LMFAO, NASA, and Public Enemy. All of these acts were very fun to photograph. The most memorable show was from Girl Talk and his 50 person posse up on stage, when he crowd surfed in an inflatable raft—all while mixing Metallica, Jackson 5, and Beyonce.
JW: How can people interested in your services reach you?
GK: Best places to find me and my work are my main website, www.genekosoy.com, my blog, www.genekosoyblog.com, and my wedding site, www.gkweddings.com.
Please feel free to get in touch with me on Twitter (twitter.com/genekosoy) and Facebook (tinyurl.com/genekosoy).
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