Embarking on a biographical venture through the lens of live music, our Photographer Spotlight Series aims to highlight photographers’ talent and perspective — all while showcasing their skill to the creative community and rest of the world. These interviews aspire to provide a glimpse into the world of concert photography uniquely told by each individual and create a network for fellow photographers to link with one another and potential opportunities.
In this feature, we present Nikki Phillips, who is based in Los Angeles. Nikki is the founder of First III No Flash and shoots freelance for herself, Live Nation and Concert Crap. She also is an affiliate with Prism Lens FX. (Promo code: NIKKI for 15% off)
Portfolio: https://nikki-phillips.com
Instagram: @nikkiphillips
What do you shoot with and any favorite lenses?
I am currently shooting with an oldie but goodie: Canon 7D Mark II (yes, believe it!) My favorite lens is Canon’s 50mm f/1.4, though I don’t get to use it as much as I’d like.
Do you have a signature editing style or aesthetic to your photography?
I view photography more as art rather than just pictures. I love film-inspired finishes with muted tones over a classic editorial looks — though sometimes those are more appropriate. I like to incorporate digital (editing) and manual (lens filters) effects both subtle and bold, depending on the mood of the shot. My signature style tends to emulate what I feel is the most reflective of who I am shooting. I do have a tendency to implement various styles based upon artist preferences or the general vibe they give off. For example, I love to shoot AFI in punchy black and white, heavily inspired by Ilford film — but with a twist of punk and grunge. In the past, I have used vibrant hues and warm undertones of pink and purple to highlight pop artists like Bebe Rexha and Paris Hilton. For pop punk, I love motion tricks to emphasize movement and high energy.
How and when did you get into concert/music photography?
I have been bringing disposable cameras everywhere since the 9os. I started concert photography with digital point and shoots in the mid-2000s, but not at a serious level or for publications yet. There still weren’t that many accessible outlets and the internet wasn’t as plentiful as it is now. After moving to Los Angeles in 2013, I began to revisit everything with a bigger goal in mind. At the time, there were a handful of local venues that didn’t require a photo pass to shoot shows. I spent a lot of time learning techniques, maneuvering crowds and lighting, experimenting with post production and much more.
Do you have a niche or specific genre that you tend to shoot?
I grew up in the pop punk, emo, alternative, MySpace era — so naturally, I lean toward a wide umbrella of rock music since most of my networking has been established around those subgenres. I do love to shoot all types of artists: pop, rap, country, even a few EDM DJs — it’s all fun for me capturing people in their element and absorbing that admiration and energy from the crowd.
How do you approach capturing the performance energy and atmosphere in your work?
If I am familiar with the artist, I just go with my gut to maneuver the area. There are a handful of artists I’ve shot or seen enough times to know when their prime moments are. I like talking with fans at the barricade before the show if I am not as familiar with the artist — they definitely will give you all the details you need if you just ask. Looking for the small moments as well as capturing the atmosphere from afar, when allowable, is a balance I strive for.
Have you photographed any of your favorite artists or events? What do you consider to be your biggest accomplishments so far?
I have shot almost all of my top artists, with the exception of a few. Last year, I shot When We Were Young Festival which was a huge deal for me. I recently found out I will be shooting Sick New World as well this year, which is something I was really looking forward to. My accomplishments are ranked more at a personal level for me — so covering my favorite bands or festivals with dream lineups, to me, is the best accomplishment because all of those artists are the reason I am doing what I do today. Getting tapped for house photography with Live Nation was a huge goal of mine early on, so that is also something special to me and hope to continue to do more with that.
In a perfect world, what would be your dream photo job/opp?
Honestly, I would be content with anything that is fulfilling alongside people I respect. Touring with an artist I really love would make me so happy. Secondly, I would love a cover on a print publication. To have my own outlet and photo team would be the icing on the cake.
What is one thing you’d like to achieve in 2024?
I’d like to establish a more concrete role/job within photography and music, but aside that ongoing journey… I want to grow First III No Flash into something meaningful and of course, successful. I’ve had this idea for a long time, so finally executing everything has me hopeful. We’ve been receiving a lot of positive engagement and buzz around it, which has been encouraging.
Who in the creative community has inspired you or helped you on your journey?
I love seeing other women in the industry out there holding their own. Whether its photographers, publicists, tour managers, whoever — I really respect anyone who turns their passion into work, especially while staying true to themselves. It’s easy to fall into the flow of what’s trendy, rather than stand out on your own terms. Algorithms like to dictate how we portray our work, but at the end of the day, I’m a quality over quantity person. Quality work, effort and correspondence within this industry are things I really resonate with. Eter at Cosa Nostra PR was the first publicist to really establish a genuine, working relationship with me, so big shout out to her and all of the hard work she puts in there. Steve Rose was also kind enough to show me the ropes around various venues when I was just getting into bigger shows. Corey at Concert Crap brought me on amidst a time when there were no shows and the world was in a crazy place. Carley at Live Nation was also welcoming for me. Every single band who has hired me, guestlisted me, posted my work, anything to get my name out there. And lastly, I can’t forget about all of the fellow creators and friends I’ve met doing this. While I do look up to other “big name” photographers in terms of their success, I’m more focused on me. Seeing others doing big things can be great motivation, but you’ve got to remember that comparing yourself to others is the worst thing you can do, and can often send your mind into a spiral (been there, done that) — you will get to a place you’re confident with if you continue to put in the work.
What is one misconception you’d like to clear up or a hot take you have regarding challenges or life as a concert photographer?
I could probably go on forever with a never-ending bullet list, but in short, we don’t just press a button. We spend hours editing. Another misconception by the general public is that publication and media contributors get paid — most of us don’t. Do we deserve to be paid? Absolutely. But, many of these outlets are newer, non-mainstream and online only. They’re run by everyday people with very minimal, if any, revenue.
My hot take: if you’re in concert photography for the money and clout and not the passion to create art, maybe this isn’t really for you. We’re all constantly seeking portraits, promo, and behind the scenes jobs to survive financially through our work without juggling other jobs. With concert photography in general, there are many challenges and obstacles versus a traditional photography job. Artists don’t pay media/press for coverage. I really wish people understood the dynamic and exchange of this, because there is a lot of judgement and criticism even from other photographers that don’t partake in this niche. The majority of concert photographers start out in media — it’s an amazing way to build a portfolio, network with others and gain experience. Unfortunately, supply and demand kicks in here and there aren’t many paid opportunities available for advancement very often. We work hard, but burnout is real — which is another topic I want to help others work through because I am seeing it more and more.
Additional photos by Nikki:
