Arctic Monkeys drummer Matt Helders has spoken about shooting the cover artwork for the band’s latest album, and his approach to photography on the whole.

In a recent interview with The New Yorker, Helders recalled that he captured the image featured on the front of ‘The Car’ with a long lens from the window of his former apartment in Los Angeles.

“This was in 2019, before we’d started any music for the album,” the musician said. “Alex [Turner] was, like, ‘Oh, wow’. He thought it told a story and that he might write something about it.”

The photograph in question features a lone white vintage car on the top floor of a multi-storey car park.

Helders also talked about being inspired by Terry O’Neill, the British photographer whose pictures capture subjects candidly or in unconventional settings. O’Neill, as TNY notes, also assisted in the birth of rock photography in the early ’60s.

The drummer told the outlet that he prefers domestic scenes over the iconic style of photographers like O’Neill.

Discussing his own photos of Arctic Monkeys, Helders explained: “It’s not clear they’re a band. They’re not doing anything that’s rock, but you can tell there’s something about them.”

Helders, who documents AM’s tour life on his Instagram page, added: “I try to make the mundane interesting.”

The sticksman uses a Leica M11 digital camera and also shoots in 35mm on a Leica Minilux, Leica M6 and Leica M4, per some of his recent posts.

The latest photo on his account is of Turner’s recognisable side profile in silhouette on a grey backdrop behind a sofa and a cardboard box.

“I have a folder on my phone called ‘The Backs’,” Helders explained. “If I’m walking around the street and someone looks interesting from the back, that’s fine with me. I don’t need to ask them to turn around.”

Speaking to NME upon ‘The Car’ being crowned our album of the year last December, Helders said: “It’s amazing to see this billboard [for the record] at the end of my street and think, ‘Wow, that’s a photo I took’.

“It wasn’t something I shot for that album cover necessarily as [the photo] came first before the music, and then went on to inspire some of the lyrics. Alex was really drawn to that image for some reason, so it only made sense that it became the cover for ‘The Car’.”

He continued: “It’s been really exciting, and it all still feels a bit surreal; like, I’ve got that picture up in my house, so it’s become something that I see every day.”

Back in 2016, NME collated 11 of Helders’ best shots up until that point including images of Josh Homme, Iggy Pop and Miles Kane.

• READ MORE: Why Arctic Monkeys’ 2023 stadium tour marks a new golden age for the band

Arctic Monkeys recently wrapped up the North American leg of their 2023 world tour, and are due to play two shows in Mexico City this week (October 6, 7).

Next weekend, they’ll begin a four-date arena stint in Ireland to bring their current era to a close.

In other news, last month saw Arctic Monkeys give ‘The Car’ song ‘Hello You’ its live debut during a gig in Vancouver.

The camera is an instrument that is so ubiquitous that everyone is carrying one around in their pocket.  Photography is a technological marvel we all appreciate and value.  Bring pictures of your grandchildren, vacation, and your cat for this daytime lecture at the Boulder JCC on Wednesday, October 11.  

Peter Hay Halpert will give participants a look at the history of photography through ten pictures (and a few asides and detours). Starting with the first photo in 1839 through to cutting edge contemporary work. Through this tour, Peter will examine some of the key issues that photography has dealt with including the impact of Artificial Intelligence.  

In preparation for his talk next week we reached out to Peter and asked him a few questions.  

How did you get interested in this topic?
My doctoral studies were in 17th century French history/art history/architectural history.  I was able to do some work at the Rhode Island School of Design Museum with their 17th century Dutch painting collection, like Johannes Vermeer and Rembrandt.   I fell in love with the work, but the masterpieces I spent so much time with weren’t available to collect – they were in museums.

In the late 1980’s, I started collecting photography – a medium that I had been looking at all my life. The collecting led to curating and writing, and eventually to a career as a private art dealer specializing in photography. It’s been over 30+ years now, and I’m still finding and engaging with new work. 

What is a misconception people have about photography?
Photography is a language everyone thinks they speak.  Photography is the medium of our times. There are great artists working with photography. Artists have been doing great things for almost 200 years. We may think photography has just started to get innovative, but it’s actually been innovating since day one.

What is your favorite thing to photograph?
I’m not a photographer (although of course I have over 10,000 photos on my iPhone). But as a collector, professor, author…I’m always drawn to pictures of people. I could spend a lifetime sitting at a café in Paris, watching people go by. Photography lets me capture those moments and keep looking.

Peter’s lecture will be on Wednesday, October 11 at 12:30 pm.  There will be snacks and socializing following the program until 2 pm. 

Advance registration is always recommended for programs at the Boulder JCC.  Using a computer rather than your mobile device will make the registration process easier for you. For registration support call 303-998-1900 or contact Acy Jackson acy.jackson@boulderjcc.org. 

Grace Lau’s Portraits in a Chinese Studio is not just an entertaining pop-up studio but also addresses issues around Imperialism by inverting Western notions of the Chinese as an exotic ‘other’. The studio will be set up in the Mezzanine Gallery at the Centre for British Photography and visitors will be able to book a spot to pose for the camera at times throughout the exhibition’s run. Portraits from two previous incarnations of the studio will surround the studio.

The first photographic portrait studios in China were set up in the mid-19th century by Western travellers, and focused on ‘exotic’ subjects such as beggars, opium smokers, coolies and courtesans. Many of these images were reproduced as postcards to send back to amuse a European audience. In 2005, Lau created her own version of an old Chinese portrait studio in which she would document the residents and tourists to Hastings as ‘exotic’ subjects. Open to anyone passing by, the project made an oblique comment on Imperialist visions of the Chinese; and by reversing roles, Lau became the Imperialist photographer making portraits of the diverse people of a British seaside town.

The props including mock Chinese furniture and a faux panda rug, and the vibrant ‘Oriental’ backdrop was painted by muralist, Robina Barson. The discrepancy between the historic studio context and the contemporary appearance of the subjects is highlighted by the overly formal presentation.

In 2023, Lau’s Portrait Studio reopened in a Southampton shopping mall during the Chinese New Year as part of John Hansard Gallery’s Co-Creating Public Space programme and resulted in over 600 portraits representing a Southern English port. The resulting portraits would inform several layers of cultural interpretation, conflating 150 years of history in a raucous theatre of photography, but leaving an unrepeatable archive of ‘21st Century Types’.

Grace Lau was born in London of Chinese parentage. She has written that her intent is to raise awareness of stereotyping and prejudices, to encourage questions and debate, and to respond as an artist to social issues. She is also driven by curiosity about the performative aspect of portraiture photography and how her subjects enact out roles and interact with the photographer. From her earlier work on the underground fetish scene of the 1980s to this series, all her portraits are based on photography providing the stage for performance.

Portraits In a Chinese Studio is presented in partnership with John Hansard Gallery, part of the University of Southampton, supported by Arts Council England.

Grace Lau : Portraits In a Chinese Studio
October 4–December 17,2023
The Centre for British Photography
49 Jermyn Street
London SW1Y 6LX
www.britishphotography.org

Events are, by nature, fleeting—but they can live on through photography. Great event photography can be an invaluable tool for both practical and emotional purposes, furthering future promotional efforts while also helping foster lasting memories in your attendees. But how do you ensure you’re getting the most bang for your buck? BizBash caught up with three experienced corporate event photographers, who shared their tips for finding the right partner, clearly communicating your goals, fostering ongoing relationships, and more.

1. Understand the power of good event photography.
First things first: To get high-quality photos from your next event, you need to appreciate why event photography is so important. “Exceptional event photography plays a pivotal role in narrating the unfolding story of meticulously planned moments,” explains Daniel J. Vasquez, president of Daniel J Vasquez Productions Inc. in New York, who specializes in capturing corporate and social events, along with live music. “Photography immortalizes these instances in time. Event photography holds special significance, whether it’s a once-in-a-lifetime occasion or a weekly recurring event, as it captures unique people and moments that can never be replicated.”

It can have practical purposes too, like for marketing and promotion, points out Gene X Hwang, COO and co-founder of Orange Photography, a San Francisco-based corporate event photography company that works with a variety of high-profile clients. “Also for planners, images can provide valuable documentation to reference. Additionally, often after an event, all you may have is images as evidence of what was done, and they can be used in case studies and to inspire other potential clients in what you can do with a specific venue and/or type of event.”

As the son of an event planner, photographer Dale “DJ” Falk Jr.—the Atlanta-based executive producer of photography and media production company Network Frequency LLC—understands “the detail and intentionality behind various aspects of the production that many need an entire career to figure out,” he says. “When you bring in a photographer who knows how to engage and when to engage, and enjoys the creativity around the challenge of waiting for the perfect shot, you get something special.” “A skilled photographer captures the moments that matter most in a way that will memorialize the experience that’s been created,” says Dale “DJ” Falk Jr.Photo: Network Frequency, LLC

2. Look for photographers with previous event experience. 
Look through a photographer’s portfolio to see if they’ve worked on similar projects. For example, a headshot photographer may not have experience with the fast-paced world of trade shows, or a wedding photographer might not have the right style for a corporate conference. “Having experience with the size and scope of a client or event is very important,” explains Hwang. “Also, in some cases, having experience with the venue can be helpful—and lately, insurance and other liability coverage seems to be of more and more importance to many clients and venues.”

To start your search, Hwang suggests looking for photographers who have examples of work at similar events. “Often, you can find good resources through local event organizations like ILEA and MPI, which often include suppliers such as photographers. Also, travel and convention bureaus can often provide input on who in their area shoots events.” 

And while social media can be a great tool, Vasquez cautions against leaning too heavily on it when searching for a photographer. “Instagram, while popular, may not always be the best platform for finding suitable talent to hire. Often, individuals with the highest follower counts appear first, but this doesn’t guarantee they are the right fit for the specific job,” he points out. “Exceptional event photography plays a pivotal role in narrating the unfolding story of meticulously planned moments. Photography immortalizes these instances in time,” says Daniel J. Vasquez.Photo: Daniel J Vasquez Productions

3. Lean on referrals.
Tied into the point above, our experts all advise leaning into referrals. “If I were an event planner, my first approach would be to seek recommendations from fellow event planners,” says Vasquez, who notes that approximately 80% of his event photography assignments come through word-of-mouth referrals. Plus, he adds, “I find a higher level of comfort when collaborating with recommendations by trusted clients, rather than someone randomly from social media.”

Falk agrees with the power of referrals. “Go to another event planner, go to a networking event, go out into the community and find those who hire these services, then get their recommendations,” he says. “Usually, a professional will have a portfolio, website, and social media—however, you simply cannot beat having a colleague say, ‘I needed these photos done right and returned quickly, and they absolutely nailed it.’”

4. Book your photographer early in the planning process. 
As for when to secure a photographer, Vasquez advises it should come early in the process—ideally right after confirming an event date and booking a venue. “A notable pet peeve is being asked to photograph an event at the last minute,” he says. “Typically, photographers tend to be at the bottom of an event planner’s checklist, despite having a crucial role in preserving memories and creating valuable marketing material.” “Photographing events has been really rewarding for us at Orange,” says Hwang. “We love the diversity of events we cover, and being witness to so many amazing things over the years.”Photo: Orange Photography

5. Clearly communicate your needs. 
Remember that photographers are interviewing you too—and they’ll notice if you’re not clearly communicating. “For us, we look for clients that know what they are looking for, have reasonable budgets, and who seem to know and value their event production,” says Hwang. “Mostly it’s probably a lot like how you would hire any event professional—you are looking for competence, professionalism, and great communication skills.” 

Vasquez likes some of these initial conversations to take place via email; he advises clients to share any past photos they admire and would like to emulate, along with a shot list, a guest list highlighting key members to focus on, and any other important details. He always makes sure to schedule a brief follow-up call, though, “to establish a more personal connection with a potential client, allowing me to gauge their personality. These initial minutes often provide insight into whether I can establish an intangible connection with the client.” 

Falk sees event photography as a collaboration, and “good collaboration comes from communication,” he says. Personally, he considers it a red flag when clients are vague on their needs or unsure about their dates or budget. On the flip side, photographers should also be communicating clearly. “The good ones will always be upfront on their availability, gear, pricing, and realistic turnaround time,” Falk notes. “And please, please, please—don’t let someone tell you that they are a professional that uses a phone! It’s just not the same.” “Throughout my years as an event photographer, I’ve always found that candid photography was my favorite. … There’s really nothing better than being present where humanity is shining through lives being lived, and having the honor to photograph it,” says Falk.Photo: Network Frequency, LLC

6. Tell your photographer what you’ll be using the shots for.
Another useful conversation to have early on? Establishing your goals, or how you’ll be using the photos after the event wraps—whether it’s for documentation, marketing, or something else. “It’s important to know who the final audience(s) might be,” says Hwang. “For example, for the end client, often they want to show that their event was well attended, included a diverse audience, and created connections and forged new friendships. Maybe they want to show that attendees can learn and be engaged by the content—so having these end goals in mind is very helpful.” 

7. Focus on lighting, and be open to candid shots.
Trying to get great photography from your event? Think about your lighting. “Bad lighting is the biggest pet peeve, or having speakers stand in terribly lit areas,” says Hwang. “This makes our job harder—but often means the audience can also not see them well.”

And while there are, of course, some must-have shots at every event, Falk finds that candid photography can often have the biggest impact. “I love shooting with a telephoto lens to the side of an event to capture the little moments and experiences detailed throughout the faces of the attendees,” he says. “There’s really nothing better than being present where humanity is shining through lives being lived, and having the honor to photograph it.” “If you plan your events well in advance, immediately after booking a venue or confirming an event date, it’s a good practice to secure your photographer,” says Vasquez.Photo: Daniel J Vasquez Productions

8. Treat photographers with respect.
Having grown up immersed in the event world, Falk emphasizes the importance of respect in the stressful world of events. “I don’t care who you are, what you make, or the title you have: If you’ve never stayed up for 16-plus hours on set working to ensure that the attendees enjoy their experience together, then you don’t have a right to speak on events,” he says. “Anyone that walks into an event and does not treat the staff and team around the production with respect is something that I can’t stand. I expect clients to respect myself and other photographers too.”

He adds, “Events overall are the lifeblood for a solid number of brands and businesses. They get your people together, they get your message out, and they showcase the potential of what your brand can be. It takes a special kind of professional to capture that.” Another crucial tip from Falk? “Feed your photographers!”  

9. Establish an ongoing relationship—and pay them what they’re worth!
Found an event photographer you like? Work with them again! “If you host numerous events throughout the year, it’s a wise idea to explore the option of a retainer agreement,” notes Vasquez. “Personally, I would be open to adjusting my rates slightly in exchange for the security of guaranteed monthly income.”

Above all, recognize the value that comes with great event photography. “My No. 1 advice is to look at this collaboration and partnership as an investment into your production,” sums up Falk. “Great photography costs money. If you need a way to justify obtaining greatness, just tell your team that the thousands you’re probably spending on great food will be gone (or wasted) at that event—while the thousands on your photos will last you a lifetime.”

Get out of here! An angry bird showing its friend where to go, a kangaroo playing air guitar and an owl that’s lost the will to live make the final in hilarious Comedy Wildlife Photography Awards

• From bears waving to kangaroos strutting the tango, photographers have captured some incredible images

By Christian Oliver

Published: 19:42 EDT, 4 October 2023 | Updated: 21:00 EDT, 4 October 2023