1. More publications, more opportunity? But I understood that
each shot I took was clinic and even when I did not see it in
the time,
my photos were ideally getting better. I shot everything which wasn't music really. This one
job provided me with this much -- it
led to the near future Violent Soho work, including Laneway Festival, where I fulfilled Dune
Rats, who introduced me to Skegss. I
met The Smith Street Band that introduced me to Ceres. And so on and so on. "Hey mate."
Is all it composed. I was nervous.
Immediately I thought I'd done something wrong because I hadn't gotten a photo pass for
some time and was buying tickets to shows
together with the only intention of photographing them. The entire concept of photo passes
had started to feel foreign to me. I
stayed positive although my social anxiety was telling me I had done something wrong. The
reply was something like,"You take a
mean photograph! Come into the bar this week and let us catch a damn beer! You will find
me up the back of the room using the old
dudes." I was really relieved but curious. I didn't have any clue what Trad (the owner) wanted
to talk about. I had been worried
about how fragile the camera was in the moshpit however I held it above my head and kept
hitting on the shutter. I retained
reefing outside the Polaroid picture after each shot and stuffed it into my pocket. I could feel
the engine vibrate inside the
camerachurning the Polaroid out so I knew when to catch it. I spent $40 that nighttime firing
shot after shot and leaving with
pockets filled with developed Polaroid movie. The Polaroid photos were smashed and
battered, but VICE Magazine
[https://noisey.vice.com/en_au/article/64ejdr/matt-caughthran-from-the-bronx-got-sweat-in-
our-eyes] watched an opportunity for
Noisey and asked me if they could conduct the photos. I contacted other books in the hopes
that getting more areas to contribute
would create more opportunities to be delegated bands I wanted to picture. So I was
shooting three publications at the time. All
unpaid, too. So sorry about the delay in this event. I spent a lot of time thinking back to my
experience so that I can be as
helpful as possible when I tell my story. But what better way to celebrate the 10th event than
speak about my most frequently
asked question. I might have worked for weeks off the chances that rolled in, but the only
function I wanted to do was to decide
how to leverage my present vulnerability. Obviously, I would not recommend photographers
lose their camera to get their title go
viral, however what my lost camera taught me is that what you give to other people, you are
going to receive back 100 times over.

2. It was evidence that you get out what you put in. It's on iTunes
[https://itunes.apple.com/au/podcast/filter-by-matt-walter/id1335307416?mt=2], Spotify
[https://open.spotify.com/show/4BdoRNAQekMOURzbqgKnWo?si=FufN6i6fRR-
tHhPQo1Jjsg], Soundcloud, YouTube
[https://youtube.com/filterbymattwalter], Stitcher [http://stitcher.com/s?fid=168950&refid=stpr],
and who knows where else.
However, you'll most likely be using one of them. If you have any questions about the story I
just told, hit me up! Maybe we could
answer them next installment. My telephone buzzed endlessly for the next 10 days.
Messages from countless people I didn't know
sharing their frustrations, sending photographs of people who seemed like the thief, actually
offering me to borrow their camera
gear until I got a replacement. Trad called me confidently told me that my camera would
make its way back to me. Taking a step
back from the analogy -- you take the smaller bands for books before you can pick and
choose who you would like to take.
Complaints fly thick and fast towards books for'taking advantage' of emerging photographers.
I have contributed to many, and so I
can speak from experience that it's sometimes not the case. Occasionally, but not always.
You can hear older episodes of Filter in
https://filter.mattwalterphoto.com/photography-podcast
[https://filter.mattwalterphoto.com/photography-podcast]and submit your
question there. Or hit me up on social websites somewhere -- my username Is Usually
@mattwalterphoto "We'll throw a design if we
have to. You will picture again. I'm convinced we'll get it back. I will place a Facebook post up
tonight." What a hero. Welcome
to episode 10 of this Filter photography podcast
[https://filter.mattwalterphoto.com/photography-podcast/]! I so appreciate all of
the support that this podcast has gotten. A few weeks ago on Instagram, I inquired how we
should celebrate the 10th event. I
received a heap of ideas. However, the one I have most asked for me to tell the story of how
I got started in music pictures. I
normally inform this once I do guest lecturer places at QUT and things like this but I needed
to think deeper because the
intention of this narrative is a little different than inspiring children to think big with
photography. The darkness and topic
movement left my head spinning with nothing to supply the band after the show. My wife
reminded me that the reason I was shooting
a smaller band is to minimise the risk. If I were given an opportunity to shoot an global ring
without expertise, the situation
would have been much uglier because I would be letting down someone else that had put
their total faith in me to send photographs
that were on par with more seasoned music photographers. Then Title Fight declared a tour
which would change the way I shot audio,

3. but I'd no photo pass. I had been desperate to picture Title Fight
[https://titlefightmusic.bandcamp.com/]. On the smallest
chance, I contacted a venue called Crowbar [http://crowbarbris.com/] directly to see if
cameras were allowed inside the place for
paying ticket holders. I got a response pretty quickly, stating that it was nice as long as I
remained from the side of the point
area. Obviously, it did get much better, but I think it's always important to observe the tiny
wins that feel like big wins at the
moment. Publications are important for emerging music photographers since they're a
dressed-up internship. After a couple more
beers, then I began to collect my equipment and put it in my purse ready to depart. My
camera wasn't in there, so just assumed the
cameralens, flash and battery grip would be behind the pub. Looking back at the safety
footage the following day, the legends in
Crowbar had discovered the moment a thief had snuck up behind Jake and swiped the
camera under his hoodie and walked outside. Hope
everybody has a great fortnight and requires some awesome pics! 1 thing that I did not have
the ability to find fast access to,
was audio. That makes sense why folks feel music photography is hard to break into. And
please do not use this as a routine
because you need to be on your own travel, but if you use my expertise as a building block,
you might find it somewhat easier to
begin. Then find your own way to scale your own existence as a music photographer. I
looked at the busy venues in Brisbane knowing
that smaller bands are playing there since the bigger bands are at the more popular places.
So I went looking for bands that
didn't have photographers already asking them to take their display. Avoiding the contest
was the simplest way to construct a
portfolio without any setbacks caused by thinking too big or getting ahead of myself with rival
with experienced photographers.
The very best job is based on trust, and that can't be fabricated or pressured. Meet people,
share experiences through shared
interests and forget about the job. I bought my $25 ticket and photographed the show without
the support of publications. It was
liberating. It had been iconic to me. I never sought a friendship out to reserve work. In my
experience, that is the biggest
mistake I've seen up and coming photographers make. If you built a pure foundation of
sound work consistently over a long period
of time, you are going to naturally meet talented people. Your paths will cross. Even though, I
had been missing out on obtaining
photo passes to cover some of the shows. Every novel had photographers who'd been there
for more. So contributing to three
publications didn't help me get more opportunities, actually. "Luke explained you might be
free to photograph the behind the

4. scenes of their Like Soda clip [https://mattwalterphoto.com/violent-soho/violent-soho-like-
soda-video-clip/]?" I couldn't respond
faster to take. "Gotta look after the homies," he responded with. Knowing that an artist wants
a picture for their social media
and viewing the pride that they have for playing at Crowbar made me realise there's a
chance available that benefits everybody.
The sofa in Crowbar's greenroom was an ideal centrepiece for uniform, guaranteed-to-be-
used societal networking content. That is
my advertising side coming out I guess. Shortly, my username was plastered from 1 facet of
social media to another, and
individuals who followed those rings were subscribing to me personally on Instagram,
Facebook and Twitter. As my Instagram after
increased, I optimized my content and retained it uniform. The advantage of owning a
background in digital marketing intended I
already knew the power of social networking. Planning electronic content was within my DNA
-- I only had to keep consistency over
time. The feeling of liberty I had to operate as a different photographer is difficult to describe.
I had made no guarantees to
get a body of work which could follow the show. It was a bargain between me and my 25. I
wished to treat the bands the way Crowbar
handled me, along with the bands had content they could utilize for social websites instantly
the day before. I requested them to
consider me as a music photography contributor. The mutual advantage had shifted out of
me needing a photo pass for whatever, to
me needing access to some larger shows so my job was more familiar to people looking at
my portfolio. On the next 48 hours, the
Facebook article went viral. Over 550,000 people had found the article. Members of bands all
around the world shared it among
their networks, including members of really big bands such as No Fx. Publications frequently
make less money compared to the cost
of hosting the website, meaning nobody is getting paid for the job they are putting into it -- not
only the photographer. If you
are not doing this for the love of it, then you're never going to create it. I began photography
in about 2014. I'd really bad
societal pressure and wanted to force myself to connect to more people. People I otherwise
wouldn't have spoken to. And I didn't
know anybody. I had nowhere to start and no one to assist me. The audio business is a small
world. It looks like everyone has
worked with everyone at least once, but they keep in touch since relationships within the
industry are not centred within the city
where you reside. The audio industry's lifeblood goes between towns and will go in almost
any way. It is like a travelling circus
which you have been requested to participate in. You satisfy with an endless stream of
unique people with different functions and

5. stories to tell. Sitting in the middle of that flow and touching everything that flows past allows
you to get acquainted with a
lot. I met Luke Henery for the first time in a Clowns show at Crowbar. I can not recall the
specifics of how we knew of each
other, however I we have talking about the way he was doing some work on Crowbar's point.
It is a bit vague because of what
occurred next. I discovered a couple of bands listed on gig posters that I had never heard of.
Immediately checking the internet,
it seemed like nobody had heard of them either. I knew that this was my biggest chance to
offer you a mutually beneficial
opportunity for me as an inexperienced music photographer and for the band. The chance
had to be mutually beneficial because I
wanted the band to arrange a photo pass, along with the band needed photos to market their
future displays. I bought a Nikon D90
and took photographs of anything in my own backyard to comprehend the settings. I took
photos of flowers, things on the road,
cars. And all were pretty bad to be fair. Sunrise, a morning series in Australia for those
international podcast subscribers,
called me needing to do a story on the ability of social networking, but I had everything I
needed -- my own camera, faith in the
universe and an infinite amount of appreciation and admiration for the Crowbar family and
everyone else who helped spread the
word. I am not certain if Trad knows just how much his service intended and continues to
mean to me. It was my error, finally for
leaving my camera there. However, Trad's blind confidence in the world just exercising was
exactly what I needed. I chose to take
risks for the way I shot. Once you graduate from the internship, they'll let you to the living
room so it's possible to eat some
nicer food, but you are still receiving the internship salary (that's $0 per week for those who
have not been there before). 10
days after the camera was stolen, I received a call from a detective who told me he was
going to go and gather my camera in the
burglar. He explained that the sole reason they were able to obtain the burglar was due to
the information that unrelated
individuals offered due to the Facebook post that went viral. Recognizing Crowbar was open
to ticket holders earning their own
cameras was where my career really took off. I might take more risks because I understood
there was no client who was relying on
my photographs. The word'risk' sounds overly negative, but those'risks' were what defined
my style and enabled me to think beyond
the box with minimal consequences. I was a few beers down, so I wasn't in a hurry to get
home. We drank a few more beers and Luke
went home, but that I had not had a opportunity to talk properly with Clowns in their
upcoming Riot Fest look. Stevie and Jake

6. were enjoying DJ for the night, therefore that I left my camera with Jake to look after.
Shooting ring after ring since they came
through Crowbar since the exclusive house photographer improved my rolodex five-times
over. It had been swelling with new friends
and people I've met that wanted a copy of those photos I took since I was the one there
every time, without fail. Consistency was
the very significant part this stage. I owe Crowbar large time for supplying me that kind of
exclusivity. It meant a lot to me
personally and joined me with so many people. So that's my long 10th episode. It took a
while to think through all of the things
that I feel brought me to the stage I'm at now. So sorry for the delay with this episode. Next
episode I'll likely jump back to a
listener questions. I repeated that on a regular basis, photographing smaller bands which
were moving under the radar of
additional group photographers so I could construct a portfolio along with a community of
men and women in the industry. I would
keep calling little bands that weren't receiving online blog coverage. I knew that these rings
would work hardest to get me a
photo pass because they were also getting something out of it. I did music photography at
Crowbar three to four times a week.
Every artist that passed Crowbar on their tours had a home photographer prepared to take
photographs because Crowbar treated me as
if they treat the bands. Music photography contributing At random I chose a ring named
Poncho Pilot. By the time the show had
finished, I had around 400 photos that were all fuzzy, dark and so were fairly uninspiring. I
had completely underestimated the
problem of music photography. I need to stress this is my own story. This is not a music
photography
[https://photographypodcast.com.au/episode-5-what-you-should-know-about-music-
photography/] blueprint which may be applied to
anyone and get the success that appears precisely the same as mine. It doesn't all add up to
a guaranteed outcome. I shouldn't
need to say that, but unfortunately, I really do. People can get disappointed when they do
everything precisely the same as it
doesn't get them the specific same outcome. Hopefully, this gives some insight to what I
needed to undergo, or how I got to
wherever I am. Subsequently the AU Review contacted me and said they would love to get
me on board. I felt that this was the final
square for the audio photography travel I was on. I felt I'd reached the peak and it would
never get better from that day forward.
I led to the AU Review for a little more than a year before I became so frustrated. I had
worked tirelessly, photographing small
bands that vanished weeks after their first show. I kept seeing my job build towards
something which didn't serve any larger

7. purpose. I emailed the editor and asked why I wasn't becoming allocated larger bands. "Your
job is good, but we have many
contributors which have been photographing for us for much longer than you have. They get
first pick at bands to insure ." I could
understand that they had been working super hard for longer. After a while, I needed to try
my hand at music photography. I began
to feel as though my passion for photographing the same content over and over again was
diminishing. I felt I was getting better ,
but I had been photographing the identical content over and over again and my satisfaction
was not increasing at the same rate.
Getting started with music photography Once my first year of audio photography was
complete, I had a portfolio I could stand
behind, even if it was much poorer than I'd have enjoyed. My portfolio told folks I had a
camera and had done this a couple days
before. That's all it needed to do at that moment. I told you this incident will be more than
normal, but what better to speak
about on the 10th episode than the question I have asked over anything -- how did I begin
with music pictures. In summary, every
chance I have been given is by hard work, balancing and obviously built friendships.
However, you need to take the opportunity to
benefit from it, and that is where your choices come in. Building a music photography
portfolio That type of stuff isn't what
ultimately explained, but it is how I defined myself kept myself inspired. It was these sort of
choices that delivered different
work. And I kept doing it. Consistency is simply one portion of the recipe for good social
websites. I knew if I wished to have my
name appear before as many followers as possible, I had to photograph as many rings as
you can. The marketing would grow legs and
take my username obviously, even if I had been out shooting. That way I could concentrate
on shooting and having fun doing this
without even trying to divide myself too far in the advertising efforts. Blindly meeting someone
felt so strange to someone with
the levels of stress that I have, but I did it anyhow because good things don't just fall in your
lap. You need to go out and get
them. Trad greeted me like an old buddy and told me of strategies for the pub and his vision
of making it home for artists of more
than just music, but creative arts also. I remember not really being convinced of what he was
asking of me, whether he wanted me
to provide photos for the walls of a bar extension or something completely different. He
said"Only be wallpaper! Come shoot
exactly what you would like, send us some photos if you would like to use on Facebook..." It
was crazy hearing rattle off a list
of opportunities that I'd be thrilled to just hear among. I kept thinking otherwise. Before
photographers widely returned into

8. Polaroid film, I shot The Bronx on a little Polaroid 210 camera I bought while in Japan. The
Bronx are a sweaty punk band from New
York -- ideal for Crowbar's place setting. As soon as Matt Caughthran stepped off the stage
and tore through the crowd throughout
Knifeman, I knew the time was appropriate for me to take a different risk.