Scarlet Page: Don't Wait to be Asked

Scarlet Page: 0:03

Sometimes you have to start shooting to get to the point that you're trying to get to. You just literally have to roll some frames off before you know you're gonna get what you need.

Angela Nicholson: 0:13

Welcome to the SheClicks Women in Photography Podcast. I'm Angela Nicholson and I'm the founder of SheClicks which is a community for female photographers. In these podcasts, I talk to women in the photographic industry to hear about their experiences, what drives them, and how they got to where they are now. In this episode, I speak with Scarlet Page, a music photographer and Nikon ambassador who's travelled the world working with some of the biggest names in music. Scarlet is also the guest judge for the SheClicks exhibition printed by CEWE at The Photography & Video Show at the NEC Birmingham from the 16th to the 19th of March 2024. Hi, Scarlet, thanks for joining me on the SheClicks Women in Photography Podcast today. It's really lovely to see you.

Scarlet Page: 0:51

Hello. Yeah, thank you for asking me.

Angela Nicholson: 0:54

I know it's a really, really busy time for you, because you know, it's festival season. Of course, you've just got back from Glastonbury, which must have been a very busy time.

Scarlet Page: 1:03

Yes. It's pretty intense doing the festivals, especially Glastonbury. And it's actually been 25 years since I said I'd never go back after a few years on the trot of it being particularly muddy. And, you know, it's hard work just getting around the whole site with all your cameras, and the weight of everything that you're carrying, including, like a box to stand on and and then you add in the mud factor, and it's just, it's like torture. And in the late 90s, like when I was in my 20s, I went 'right that's it, I'm not doing it anymore'. But I went back this year, and thankfully, there was no mud, but it was still really hard work. And I've been sleeping very well, actually, every night since I've been back.

Angela Nicholson: 1:50

And obviously when you get back, that's not the end of the hard work. Is it? Because then you've got to, you know, go through all the images process all the images. Is that a slog? Or do you enjoy that bit as well?

Scarlet Page: 1:59

I do enjoy it, but um, but it is really time consuming. And actually on the the days of Glastonbury for example, on Saturday, I didn't get to go to bed till about

02: 2:09

30. And it was not because I was partying, it was because I was editing. You know, everything needs, everyone wants everything so quickly, and you, and also you're moving on to the next job all the time. So if you don't get it done, you kind of, it all backs up. And it can get even more stressful. So yeah, they are long days. And but luckily I've got through the editing and moved on to the more things so yeah, it but it was great. It was brilliant. I really enjoyed it.

Angela Nicholson: 2:40

Okay, well, that's the important thing. I often find this actually isn't that I get invited to an event I kind of I really want to go. And then as it gets close to us, I think oh my god, this is gonna be loads of work and blah, blah, blah. And then when you get there, you know, is lots of work. But it's also great fun. And that's what you need to hold on to, I think, isn't it?

Scarlet Page: 2:55

I've had that probably three times recently where I've had an expectation of how I thought it was going to be and it hasn't been what I was thinking it would be at all. So, you know, we've got to be open minded as well haven't we?

Angela Nicholson: 3:08

Yes, open minded and preferably optimistic if you can be.

Scarlet Page: 3:11

That's it.

Angela Nicholson: 3:12

Anyway, it seems like you're one of the rare breeds of photographers who actually knew what they wanted to do from the outset and you went straight into photography, is that right?

Scarlet Page: 3:21

Yes. So from school, I went straight on to a foundation course and, and dabbled a bit with everything, painting, photography, and it was really when I first got a camera in my hand, which was my Nikon FM2, so I still have that it just, it just felt very exciting, you know. I found that all the paintings I was I was doing were very much like photographs, and there was no sort of loose of the abstractness to them at all. And then so as soon as I was able to take photos of what I wanted to capture, then I found like, I felt like I'd found my medium and, and then just the, you know, in the 90s, the early 90s, obviously, we were shooting on film. So it was the whole process from you know, shooting a whole roll of filmed like seemed like quite a task when you're at college because you're very considered about each frame that you make and and then you process it yourself and you make a contact sheet and you make a selection and then you print one of the images and you know, use all the chemicals to process it and dry it and then you have to flatten them and you know, is is quite a labour of love, isn't it?

Angela Nicholson: 4:42

Yeah, yeah, you're bringing it all back actually. I loved the shooting and I loved seeing the contact sheets, or I shot a lot of first slide film, so you know you put that on a lightbox and you see which images you like the best. But when I was printing, black and white, I always found it slightly stressful because you're you're looking at how many pieces of paper you've got left, and you make a print, you do test prints, then start making a print your doing a bit of dodging and burning. And then you look and you think, well, I've got four pieces of paper left, shall I use them all for this picture? Or shall you know, where do I go? In the end, you kind of end up making them all that picture, because you know, you've got to go back to the start. And then at university, we had, you know, you have these critiques that someone would always say, oh, you know what, that would look great on whatever paper you got to start again. And I must admit, I don't miss that aspect.

Scarlet Page: 5:28

Oh, yeah, like different graded papers. And it wasn't like, you know, a universal paper, and you could just create there was that you had to specifically choose what kind of paper you were using to get the contrast that you wanted. And, you know, I didn't even go down the colour printing route, there was a technician. And, I mean, that still confuses me, sometimes just colour, but ya know, it was I sort of often miss those days. And, you know, my daughter now is getting to the age where she's looking at colleges and having a look around and seeing dark rooms now and I'm thinking, 'Oh, God, I'd love to be like', in that time, you know, and being able to indulge in having that time and doing, you know, doing that and sort of getting lost in the dark room. But so after, after uni anyway, I met a photographer who was working in the music industry and started assisting to get some experience. And actually, that's how I fell into working in music. It wasn't a desire, you know, I hadn't, I didn't know what I wanted to do, particularly in the, you know, all the different threads of photography. I knew I didn't want to do still live because I was really boring that for me. But I didn't yeah, I didn't know too much. Anyway, then I started doing very quick assignments and assisting, travelling the world a lot, because it was in the 90s, there's a lot more money in the music business. And so there were budgets for things. And it was still film, you know, photography hadn't moved into the digital era. So there weren't so many photographers around. So it was a really exciting place to be at that time.

Angela Nicholson: 7:03

So, if you had met someone, say, who was a wedding photographer and started assisting them, do you think you would have been a wedding photographer? Or is there something about music photography that kind of made you find that particular photographer to start assisting them?

Scarlet Page: 7:16

I'm not sure I would have been a wedding photographer, I still and shy away every time I'm asked, you know, being around music and musicians, and travelling the world seemed so exciting that I didn't even sort of think twice, I suppose. And as I was meeting more and more contacts and shooting more of my own work, then, you know, quickly, as soon as I put portfolio together, I was able to, you know, it's not, it's not always about the skill is it? You know, I mean, obviously, I can take decent photos, but it's about the people you meet and you know, they trust you or, you know, they can see that you can get the job done quickly. And it's just about fitting, you know, the right sort of model of what, what is needed?

Angela Nicholson: 8:01

And is that what keeps you motivated now, making those connections and delivering the work that people expect or want or, you know, going beyond that, and really exciting them with your photography?

Scarlet Page: 8:11

I think it's just every new session is a new challenge. And you don't know quite how it's going to be like we were saying, you know, our expectations are sometimes not realised, particularly when they're negative ones, you know, it's like, I was shooting someone yesterday, and I had a sort of preconceived idea. And then I left thinking, you know, feeling like we really cemented a new friendship, you know. It's not always the case, but to sort of reach your subject, sometimes you do have to have a real connection. And so sometimes I do feel like, it goes a bit more than just going hello, goodbye, you know, we've done some photos, I do feel like, it gives me more than that. And you know, almost like a bit of phototherapy, sometimes as well, sort of guiding someone through this, particularly if they hate having their photos taken. I quite like that challenge of sort of, yeah, taking that on and making it okay.

Angela Nicholson: 9:15

I was going to ask you about that actually. Because I mean, obviously some of your subjects you know in advance, but do you know all of them? Do you do much research to find out about them and then try and sort of pull out their character in your photos?

Scarlet Page: 9:27

If it's a developing artists, for example, or someone who just wants some headshots and branding shots, I do quite like to have a conversation with them, at least before I meet them. And do try and do a little bit of research, not research, but you know what I mean, just have a look up if they're an artist or whatever, you know, look at their work and get a feel for what they're about. But really, it's not until you meet them that you really sort of get to know them, but I find that even having In a Zoom meeting with someone is really useful, actually. And I find that it works better for me just businesswise to have that immediate connection, rather than go through email, because I'm always rushing as well. So I, you know, not the I'm more a pictures person than a word person. So, you know, writing sort of formal emails to clients isn't really my thing, I'd rather sort of actually reach out and immediately forge that connection. Yeah, and you know, with sort of well established bands, you don't really get a chance to do that, unless it's a press session or marketing session for them, then you might have a conversation about what they're thinking and what they're looking to achieve. But if it's editorial, you know, it's nice to have a bit of a idea of who you're shooting, but really, the skill set there is to be versatile and quick. I think. So you have to sort of make something happen out of what you're given a bit like Ready, Steady Cook, but photography style.

Angela Nicholson: 11:01

If it's a musician, does the type of music that they make have an impact on your approach or how you feel about it?

Scarlet Page: 11:07

And little, I suppose if they look like a sort of a calm looking, woman, but actually they sound really punky, then you obviously have to take that bit into consideration. Because you don't want them to look all wispy and willowy, actually, they're a bit more edgy. So yeah, it's important. And also, you know, I quite like to share mood boards and get an idea of what images or imagery they like, particularly if they're like, just starting out in whatever field they're in. Because, you know, like I say, it's a starting point doesn't have to be forever. But you know, rather than always delaying and I don't know, quite, you know, let's get on with it. And, and then you will learn something from it, and know, where you want to go next, as well. And it's just one chapter in time, isn't it? Fortunately, we always need new images for campaigns or, you know, social media fodder.

Angela Nicholson: 12:00

That must be quite exciting when it's a new band. And obviously, it's very exciting with a band that's established, and you love their music or whatever. But when it's a new band, you're actually playing a role in how they will be perceived and sort of helping them perhaps determine what their look is.

Scarlet Page: 12:16

That's right. Yeah. So it's quite a responsibility. And that's why you have to have that conversation beforehand and feel like you're both talking the same language. Because ultimately, you know, that I think that is better. So sometimes they'll share a lot of studio looking shots, and you're like, okay, so they don't really want that sort of, you know, gritty on the streets, vibe. It's a bit sort of more thought out studioy, and you can look at the lighting of things that they pick up on, and you know, work with that. I quite like it, certainly having a reference point to begin with, sometimes, but then, you know, really actually the way I work best, as well is being spontaneous. I don't really like having, you know, thinking too much and being too fixed, I'd much prefer it to organically happen. And, you know, it's something you can't really put into words, that connection that you have with someone and how you pull something out or grab those little milli seconds, you know, sometimes you have to start shooting to get to the point that you're you're trying to get to, you just literally have to roll some frames off before you know, you're gonna get what you need.

Angela Nicholson: 13:25

Yeah. Would you rather work with a new band or work with an established band who've got you know, they've got all their ideas, you kind of know what they look like?

Scarlet Page: 13:34

Both come with different sort of challenges. And excitements, you know, I think established bands really know what to do, you know. So quite often I'll shoot a new band, they're like, I don't know what to do with my hands, and it's, well, you know, let's don't worry, let's just get cracking, and you will. But yeah, it's quite intimidating to be literally shot at. But, so but then, you know, established bands don't have much time, or, you know, it's about reaching through that sort of exterior mask that sometimes they might put on, and I don't want to just take a photo and want to catch something else, you know, something a little bit deeper, maybe. So there's not one better or easier than the other. They're just, they're just different. And that's the great thing is that every shoot, you just have to go in and sort of look out for what it is rather than what you think you know, and I think that's why I always have very healthy nerves between every shoot that I do whether it's taking a picture of a Pilates instructor, or you know, shooting the Stereophonics, I always have that it's it just keeps me caring enough.

Angela Nicholson: 14:41

Yeah. And I guess a bit of variety is nice as well. You don't want every day to be absolutely the same.

Scarlet Page: 14:46

It never is no.

Angela Nicholson: 14:49

Please excuse this interruption, because I'd like to thank CEWE, Europe's leading photo printing company for supporting this podcast and making the SheClicks exhibitions or the photography show possible. CEWE has a UK production team based in Warwick and headquarters in Oldenburg, Germany. The company offers an extensive range of high quality award-winning photo products, including CEWE photo books, wall art, calendars, prints and a variety of photo gifts. To learn more about CEWE and to order prints, visit cewe.co.uk or follow the link in the show notes. Let's get back to the episode. Thinking back to when you were getting started in, specifically maybe in music photography, did you have any female role models or anyone that you looked up to?

Scarlet Page: 15:32

Well, Annie Leibovitz, Jill Furmanovsky, Penny Smith, particularly the sort of music stuff that Annie Leibovich did. And it was lovely actually at Glastonbury, because Jill was there, Jill Furmanovsky. And I do often see her here in there at various things. And when I was just starting out, I did go and visit her at her studio in North London, before I was really taking pictures myself and I generally always say the same things to her when I see her. You know, like, 'oh I remember coming to see you and all those pictures of David Sylvian that you took are my favourite ever'. And so we have a little conversation. It's just me band-girling about the people that she shot. But it was lovely, you know, she took a picture of me at Glastonbury and I was like, I hate having my photo taken, but I thought it'll be lovely to see her photo at some point. So she it's lovely to be able to maybe gain a bit of respect now that I've been a bit of an old timer myself, not as, as long as she like Jill's been photographing for, you know, 50 years, I've actually just had an exhibition, celebrating that, which is just incredible. And she's still not complaining as much as me at Glastonbury in the pit. You know?

Angela Nicholson: 16:49

I have actually met Jill a couple of times, and she is she is lovely, but just a few weeks ago, some SheClickers and I, we went up to Manchester to see her exhibition. She had a retrospective in the library that oh, yeah, that's right. And it was just brilliant. I loved it. It brought back so many memories. And you know what, I used to get Smash Hits magazine. I was seeing all those pictures as they are Yes. she I think she probably was the first female photographer, that I actually kind of registered as liking her work and being interested in what she produced. Yeah, she's very exciting.

Scarlet Page: 17:21

I know, a lot.

Angela Nicholson: 17:22

I love some of her photography. There was a picture there of Grace Jones, I thought was so beautiful.

Scarlet Page: 17:27

Yeah. And I'd love to see the exhibition and I was talking to her about, you know, where is it going next and there isn't a next, but I was like 'ah just, there has to be a next'. Yeah, you know, there will be I'm sure, but it's hard putting

Angela Nicholson: 17:38

Jill Furmanovsky now runs the on an exhibition and then sort of travelling around, but I would I would love to see it. But certainly Penny Smith is worth a look as well. She took that very iconic shot of The Clash with the guy, it was Joe Strummer I think so, oh no, Paul Simonon, smashing his guitar. I'm not sure who it was. But anyway, we all know the image and she's taken some really Rockarchive. amazing, really gritty, beautiful black and whites over the time. I think she worked for Melody Maker. So you can actually go and look at a lot of

Scarlet Page: 18:12

That's right. Yeah. those pictures and indeed buy prints which is just, I think, it's a brilliant scheme. I'm eyeing up a few prints at some point in the not too distant future, hopefully get those on the wall. In lockdown, that was something that I started looking at you know, was prints and looking at old archive images. I already had a shop, but it in lockdown, that was a thing that kept me afloat. Obviously, I couldn't do any shoots and I didn't get the handout because I hadn't earned enough money, actually. So don't do photography, it's terrible job - only joking. But ya know, it hadn't been a great couple of years for me, prior to lockdown and then actually turning my hand to various projects over that time, including upping my print sales has been incredible. I mean, this, earlier this year, I went to Australia and had an exhibition and went to Sydney for two weeks and at the same time had another exhibition in New York and one in Henley. So in one month, there were three exhibitions going on. So yeah, that's, it's very exciting. So and again, through all of all of that sort of resourcefulness in lockdown., one of my images has just made it into the National Portrait Gallery as well. So, you know, it's funny how archive images can take on their own, as the time passes, they become something else, they actually become quite magical in their own right. And, you know, very nostalgic and the pictures that I took of like Noel and Liam Gallagher in like 2000, at the time didn't feel particularly special, but now I look at them and they feel like real cherished gems of photographs, you know. And it's funny how that passing of time can turn them into something quite different.

Angela Nicholson: 19:59

Yeah, I mean, there's something In very special about, you look at a photograph, and it brings back so many memories, doesn't it?

Scarlet Page: 20:04

That's right.

Angela Nicholson: 20:05

And for me, maybe looking at one of your pictures of Liam Gallagher, I wasn't there at that moment, but it brings back the music or when I perhaps you know, was singing along to them as some of their songs or, you know, all sorts of parties and everything will comes flooding back. Yeah, we do get quite nostalgic. You jus, you just don't realise it when you're shooting.

Scarlet Page: 20:24

Absolutely.

Angela Nicholson: 20:25

But it congratulations on getting an image in the National Portrait Gallery, that's, that's fantastic.

Scarlet Page: 20:29

Yeah, it's, um, it's been quite a year, actually, this year, this last year has been a really great year on many levels. And that's one of the things that you know, I could potentially write a list and go the the things that I want to do, and, or achieve and that is definitely on the list. So I was just chuffed to pieces. It's like, yeah, now do I go I want to, or do I just go? That's okay. I'm happy with that. Yeah, no, I'm really chuffed.

Angela Nicholson: 21:01

Talking about you having a fantastic year. Last year, 2022, you became a Nikon Ambassador?

Scarlet Page: 21:08

Yes.

Angela Nicholson: 21:08

How did that come around? And what sort of impact has that had upon you?

Scarlet Page: 21:13

Well, I've always used Nikon. So you know, 30 years, here we are. And as a photographer, sometimes you can feel, you know, quite isolated. You don't necessarily meet other photographers. I know, actually, more recently, I certainly have, you know, with things such as She Clicks and the AOP, and it's a lovely way to meet other photographers, which has been something that was completely lacking in my life. But as far as Nikon went, you know, every time I had a problem, or I dropped a camera or something like that, I'd be like, 'I don't know anybody'. And, you know, I felt like, it was important to me, I wanted to sort of somehow feel like I was also supported by Nikon, you know, having been a sort of a very passionate and sort of, well, I wasn't an ambassador then. But I felt like you know, I've always been very brand loyal, and, and loved everything to do with Nikon. And my agent, Tabitha, at Female Perspective, had some contacts and we started talking, which, which led to me doing a YouTube session for them. And very quickly, I was like, 'how do we become ambassadors?' And they're like, well, that doesn't happen really, very often. And I was like, 'oh', but you've got to ask the question. And I suppose I was just putting, you know, sometimes it's as simple as you know, writing a list of things you want to try and achieve in a year, or, you know, like, one of my upcoming ones will be to do a book, but it's going to take a long time, I've got so much archive stuff, but it was very much I was sort of visualising it, but I was it was very much in my mind, something I really wanted, I felt quite passionate about and wanted to feel part of that team. And, and I had no idea how amazing actually, it would be because now I've met so many people, and I can ask the questions that I need to ask, and it just feels like the biggest honour, you know, actually, when they asked me if what they said that, you know, we'd like to offer you an ambassador-ship, is that the right thing?

Angela Nicholson: 23:26

That's what I'd call it.

Scarlet Page: 23:27

And I just went bright red. And yeah, I just, you know, I was completely overwhelmed. Because actually, even though that's what I wanted, you know, you never actually think that those dreams are gonna come true and but it's just been brilliant. And, you know, they've supported me so much with for example, I had to shoot a massive event last year, It is really nice, isn't it? We all need a bit of support, and the Taylor Hawkins tribute concert. And it was me and a few other photographers who had long standing relationships with the Foo Fighters. And it was a six hour concert and obviously, it was going to be very drama based. So shooting people at the back of the stage and I needed I just moved over to the Z9 which I had already before I started speaking to Nikon and that I needed, um my other camera was a D810 which actually just doesn't perform on the same level and but I saw I needed to loan some equipment and a longer lens and, and they basically completely sorted me out and I did I shot the hell out of it and got some incredible shots and you know, everyone's so happy and grateful. And, and so it's things like that, where you're like, oh, this has come up, you know, is there any way, it's like at Glastonbury again, I didn't have all the right lenses, I mean, you do need really long lenses and they let we all need a bit of nurturing. And it's really great that me let me a 2x converter for the Z-series and just even that, you know, I was like 'God, if you could that be incredible', you you've got to the point where you can get that at quite a high level now from from Nikon, you know, got the technical know, and it's just communication and conversation and like, ah, you know, I'm having a It's just quite often handled, I am bugging them and going, like camera's not working with my flash, what's going on? B ut it's just to be supported with this network and also all the photographers I've met who are creators and also ambassadors, I feel so lucky. background, you can try out the different lenses and Yeah.

Angela Nicholson: 25:33

I know you, you're using a Z8, as well as the Z9 now.

Scarlet Page: 25:36

Yeah, yeah,

Angela Nicholson: 25:37

It's good for them as well that you're involved.

Scarlet Page: 25:39

Well, like I say, I feel really lucky. And and it's, it's just, since I've moved on to the Z-series, it's really amplified and upped my game as well. I feel like so confident in the kit that I'm using. And even though you know, when I first got asked to become an ambassador, I sort of you know, suddenly was hit by the hugest impostor syndrome, you know, where you're like, 'Oh, well, but yeah, how am I going to fulfil this role?' All of a sudden the pressure, but actually, you know, it's like, even talking today with you, it's like, well, all I do is share what I do, and my story and how it's how it's been, because actually, that will resonate with, with some, you know, and, and maybe many, but that's all I can do. It's like, sometimes when I'm doing demos, and you know, I think ;God, it's so basic', but actually, that's really exciting to some people who go, 'Wow, you mean, you literally, this is all you do, and you can get those results?' And it's like, so, you know, we have to stop being so hard on ourselves sometimes. But yeah, it's, it's a real privilege.

Angela Nicholson: 26:46

Yeah, I couldn't agree more about not being so hard on ourselves. Because I think, you know, I hear from photographers who take the most amazing sports photographs, but they don't know how to shoot a wedding. But, why would you know how to shoot a wedding? You know, you're not expected to know everything. And I think we sometimes beat ourselves up about what we don't know, and fail to celebrate what we do know. So you know, it's, it's, it's great. And I'm really pleased that you've had such a good year. Okay, well, now it's time for six SheClicks and I've got 10 questions from some SheClicks. Members. And I'm going to ask you to answer six of them, please. So could you pick a number from one to 10?

Scarlet Page: 27:19

Right, I'm gonna go with birthday numbers. So we're gonna go with number one.

Angela Nicholson: 27:23

Number one, I'm really glad you're answering this one, actually, 'cos this question is from Ailish, who is a BA Hons Photography student who wants to get into live music photography when she leaves University. What's your advice for her on this? And how should she get a work out there for more people to see it?

Scarlet Page: 27:39

Well, I would suggest making friends with your local venue, showing your passion, showing that you're keen, you know, communicating with press officers, there's always press passes for local papers. And you know, you just have to, you do have to do the hard work, you do have to reach out, you do have to make phone calls. You know, and sometimes I can say, that have been hard on ourselves, it sort of holds us back sometimes from taking that leap of faith and, you know, but if you're not doing it, someone else will be. And it's like, well, why shouldn't you you know, you have just as much right to, to make those requests, and what's the worst that's going to happen, so never let anything like that hold you back. And then once you do have a pass, or you're allowed to be somewhere, it seize your opportunity. If you're there early, and you know, if you are speaking to the band, or the management or the press officers, see if you can do a quick photograph, you know, at the side of the stage door, or just a portrait of somebody in the band. If you if you get a chance, it's like Glastonbury, that is exactly what I did. So I was commissioned by the Foo Fighters to shoot their set. And that's turned my arm, I was like, 'Okay, I'm gonna go'. So then I was like, 'Alright, I'm gonna stay for the whole thing'. But at that point, I reached out to anyone I knew, that I'd already worked with, which I know is different from someone just unit leaving college, but in theory is it's just the same, you have to find the people find a stepping stone to them. And then this is what I did. I'm gonna be here. If there's anything you need, or is it possible to make sure that I will have a photo pass? Because sometimes it's a closed pet and no one's allowed in? Could I get some extra songs on the side of the stage? Would I be able to get a quick portrait possibly before they play? So there's a band Generation Sex, which is Generation X and the Sex Pistols members have formed a new band and, and I literally got three minutes and I had to shoot them against the side of the white tent. So the background wasn't great, the light wasn't great, my ISO was really high, but the shots have come out amazing. You know, it looks great, like it could have been a studio shoot. But it, you know, it's hard work. You have to keep asking and making things happen. But I find that the most rewarding things are the things that I've made happen myself, and you can't wait to be asked, you have to just, you know, get in there and get on with it.

Angela Nicholson: 30:13

Yeah, maybe one thing that Eilish needs to bear in mind is that, you know, she's at university that are university bands, and they will become the next Foo Fighters, or U2 or whoever.

Scarlet Page: 30:23

Absolutely.

Angela Nicholson: 30:24

So, you know, getting in early, you know, she might not immediately get a pass to go and photograph the Foo Fighters, but she could get to photograph a local band who then become a big name, or you know, or they connect with bigger bands. And yeah, just start at the beginning.

Scarlet Page: 30:37

Absolutely. And like I say, local bands, local press, local venues, you know, just reaching out to them, local festivals, anything like that. And, but very quickly, when you start doing it, and you are good at what you do, make sure you're not giving everything for free.

Angela Nicholson: 30:56

Oh, yes. Okay, that's some great advice. Thank you. So can I have your next number, please?

Scarlet Page: 31:02

Next is number three.

Angela Nicholson: 31:04

Number three. Okay. Oh, so this goes back to Glastonbury. How is shooting at Glastonbury changed over the years? As for you, as a photographer, for example, how many rolls of film did you take back in '95? And do you have more or less access?

Scarlet Page: 31:20

Well, I think now because I've got many years under my belt, I did have more access to certain bands, for example, I was the only photographer in the pit for Guns N' Roses. And, you know, got side of stage was on the stage for the Foo Fighters and other bands, Manic Street Preachers and stuff. But that was because, you know, I've got some history, I guess, with some of those people. So. So that was just using what I've already established, I suppose, and making the most of it in that situation. But yes, I would take a lot of slide film. And slide film was very unforgiving back in the day, you know, if you didn't get the exposure spot-on and sometimes shooting people wearing black on a black stage, my exposures were just - you couldn't check. You know, you were doing your best. But some of the old pictures just got trashed. They weren't any good. But now, I feel like yeah, if I had the kit that I had now back then, and I was shooting people like Jeff Buckley and The Smashing Pumpkins and Radiohead and Pulp, you know, back when I was last there, then I'd probably be a bit prouder of, actually, I've got some lovely Jeff Buckley ones which have found recently and they feel like real treasures. But the great thing now is that there's a press tent, which you didn't need back in the day of film. But actually, it was a very hot press tent this year. It's huge and there's a lot of people in there, journalists and photographers, and there's a lock up so you can actually lock all of your kit up on site. So you don't have to trundle it off and on site if you're sleeping in an actual bed in a B&B. So that's nice. That was that was really good. There was a charity donation thing and really so welcomed and useful. So yeah, they have made it a little bit easier for us.

Angela Nicholson: 33:13

And of course, was no mud this year, which probably helped quite a lot.

Scarlet Page: 33:15

Yes, that really, really helped.

Angela Nicholson: 33:17

Okay, so can I have your third number, please?

Scarlet Page: 33:20

All right, and we'll go with number eight.

Angela Nicholson: 33:23

Number eight. Oh, what was your favourite concert that you've ever photographed? That's from Jane.

Scarlet Page: 33:29

It's a really tricky one, because, I suppose it feels wrong to say favourite, but the Taylor Hawkins tribute concert was such a huge emotional event that was like I say, went on for six hours and it was bish, bash, bosh. And there was so much energy, so many emotions. So favourite feels like it was fun, but actually, you know, it wasn't, it was emotional. But it was such an incredible and I was so honoured to be asked to cover it that it's still quite a highlight for me of the last year. You know, but grudgingly I could also say well, Glastonbury was quite fun too. And I was able, I shot the first show this year of the Foo Fighters reformed with a new drummer, and that was again, a really special one to do but it's funny I find it really difficult to narrow down any of my favourite anything's because they're also you know, they're also different and, and valid for different reasons. So it's, yeah, I can never tell you my favourite song or my favourite band or anything like that. But yeah, I think the Taylor Hawkins is one definitely sticks out as some thing that I will never forget. It was truly something I've never experienced before.

Angela Nicholson: 34:53

Right. So a very, very special moment. Okay, so can we have your fourth number please?

Scarlet Page: 34:59

Nine.

Angela Nicholson: 35:00

Number nine. Several people asked this question actually, who would you love to photograph that you haven't actually photographed yet?

Scarlet Page: 35:07

I think I'd love to photograph someone who has a massive reputation, like Madonna or Lady Gaga, just because I will know I'd be quite terrified, but also very excited. Yeah. In my terror.

Angela Nicholson: 35:22

Would you prefer to photograph them live? Or in a portrait shoot?

Scarlet Page: 35:26

Portrait. Yeah, I always prefer shooting portraits, actually, you know, I, I do. I have been doing a fair bit of live recently, but I feel like portraits, speak more volume for me. I've find them, you know, because that is really the connection. And, and something that you can get the where it's just you and them. And so they feel a bit more special to me.

Angela Nicholson: 35:51

You mentioned you had a list of things that you'd like to achieve. I don't know whether you'd actually written that down or if it was just kept in your head. But is that something that you're putting on that list?

Scarlet Page: 36:00

No, because I'm probably a bit too scared. You know, Stranger things have happened. You know,

Angela Nicholson: 36:07

You should.

Scarlet Page: 36:08

Yeah, I should put it, I don't have a physical list, it's one in my head. But I should, maybe, you know, next year, if it hasn't happened, I'll start putting out putting it out there to the universe. See what happens. Yeah, no reason why not!

Angela Nicholson: 36:24

Pursuing Madonna and Lady Gaga? Yeah, absolutely.

Scarlet Page: 36:27

To be continued.

Angela Nicholson: 36:29

Okay, so your penultimate number, please?

Scarlet Page: 36:31

Let's go for 10.

Angela Nicholson: 36:32

Number 10. Oh, okay. Actually, you've kind of answered this, because Carmen was asking if you prefer the dynamism of concert environments for photos, or the more controlled environment, say when you're shooting an album cover. You've you said, you prefer to shoot portraits, but do you also like the extra control that you get when you're shooting a portrait?

Scarlet Page: 36:51

No, not necessarily. Because I feel like when you're shooting live, you still have to anticipate and you still have to read what's going on, you know, the subtle signs, it's like, the first band I shot at Glastonbury was The Hives, and I saw him glancing down a couple of times, I thought, right, he's jumping off the stage. So I was ready, I had my wide angle ready, I was ready to jump up onto the sort of steps up to the barrier, so that I could be there photographing him singing into the crowd, and, you know, it's you still have to be sort of looking out. Similarly to when you're doing portraits, you have to capture that little bit, you know, like I was saying earlier, you know, I want to go a little bit sort of deeper, and not just take a picture of somebody and want to try and capture something else, something just where they let their defences down or so again, you're just sort of, I just think, you know, a live photograph, sometimes I see photographs from Glastonbury, I go. 'did I take that?' And it's like, well, no, I didn't, but there are so many people in the pit, you know, whereas if it's you one-on-one with somebody and you're getting, you're creating something that no one else has, that just feels a lot more special somehow. And, you know, it's, it's mine all mine.

Angela Nicholson: 38:07

You made it sound a little bit like, live band photography is a bit like being a wildlife photography, because you're looking for those visual clues. And something that often gets discussed in SheClicks is, you know, things that birds do just before they take off, or how do you know when a fox might appear or stuff like that? And basically, you're looking for visual clues with a band when they're going to do something a bit different when they live?

Scarlet Page: 38:29

That's right. Yeah, no, it's similar. You know, and, you know, there's a lot of fast action and jumping even, and you can sort of tell the music's building up to something, and they may jump, and you know, so yeah, and you've got to sort of be connected as well to, to what's happening out, but sometimes it is literally, you know, when there's however many loads of photographers in the pit, you kind of have to plumb for a position, and there's not too much running around. So sometimes you're just really lucky, something happens right in front of you and then looking in your direction. But you can't bet on that can you?

Angela Nicholson: 39:07

No.

Scarlet Page: 39:07

That is just real luck.

Angela Nicholson: 39:09

Unless of course you dress outlandishly and so they're always looking at you I suppose. That might give you an advantage.

Scarlet Page: 39:14

I guess.

Angela Nicholson: 39:16

Okay, so can I have your last number then please?

Scarlet Page: 39:19

That'll be number seven.

Angela Nicholson: 39:21

Number seven. Okay, are now quite a few people have asked this one. Naming no names, but have you had any horror stories with any famous people that you've photographed?

Scarlet Page: 39:30

Yes.

Angela Nicholson: 39:32

You can name names if you want. Of course,

Scarlet Page: 39:34

I'll probably best not. There was one time I had to go to Barcelona to photograph a band for a cover. And I got there probably the night before the shoot was going to happen. So we wanted to shoot in the day and then shoot the concert as well. And so in the day in the morning, you know, have breakfast and then you go around Barcelona looking for locations so that you've got some ideas, you know if they things that you're gonna do. So spent a couple of hours of traipsing around finding nooks and crannies, and, you know, areas that we could do it, and then we heard it was going to be in the hotel. So then, okay, so scrap all of that back to the hotel. Hotel rooms aren't always ideal, they can be quite pokey and small, low ceilings, you know, horrible walls that you can't really make look any better than they are. But I came up with a sort of second, okay, right, we'll do we could do this, then, you know, I'll try and make this happen. Next thing is no, we're going to do at the venue. Okay, so again, just time is rolling on. So it's now sort of four o'clock in the afternoon, and we get down to the venue, try and find some locations there that could be suitable. You know, all the while, you know, it's getting darker. And then when finally the band did arrive, the singer was in such a funk, like so in a dark place, had grown a massive beard, looked really dead behind the eyes just wasn't giving me anything. And you know, this, what it was getting on to this point in the day, I was like, well, there's literally nothing I can do, you know, if they don't want to do it, I'm doing this for a magazine, you know, not, it's not for want of trying. But ultimately, it's all great promotion for for them isn't it, getting features in magazines. So if they don't want to do it, literally, you know, I'm not gonna stress out about it. I'll do my best. And we did some shorts. It was early days digital, and they weren't brilliant. And he's the singer just look really grumpy. And but you never know, maybe the passing of time will make it a classic. Who knows? It's still buried away at the moment.

Angela Nicholson: 41:45

Is that one to make black and white and add a bit of grain to make it look extra moody?

Scarlet Page: 41:50

Maybe, but I'm not sure you know, you've got to sort of find a picture pleasing aesthetically, and I'm not sure if that that look would ever be, I think they were they were struggling. They were going through a very difficult time. And you know, whether they were struggling with mental health issues or addiction or who knows, but that it was definitely a bit challenging to form any kind of connection

Angela Nicholson: 42:12

It's hard when you've got a lot of baggage as well because you'd had a you know, a pretty rotten day and then you take some photographs and you kind of think ugh - you need to kind of dump that as well that you maybe, maybe someone else who perhaps if they you know, maybe they love the artist or they don't like the artist, they might have a different opinion.

Scarlet Page: 42:28

Yeah, that's true. Sometimes we're too connected.

Angela Nicholson: 42:32

Yeah. But yeah, that does sound like a bit of a day. Well, Scarlett, thank you so much for answering all those questions. It's been really lovely to hear from you. And you've given some brilliant tips and great advice. So thank you very much.

Scarlet Page: 42:44

Oh yeah, thanks again.

Angela Nicholson: 42:47

Thanks for listening to this episode of the SheClicks Women in Photography Podcast, I hope you enjoyed it. As usual, I'll add links to Scarlet's social media channels and website to the show notes so you can keep up to date with what's she's up to. I'll be back with another episode soon, so please subscribe to the show on your favourite podcast platform and tell all your friends and followers about it. You'll also find SheClicks on Facebook, Twitter, Instagram and YouTube if you search for SheClicks net. So until next time, enjoy your photography.