How did your journey as a photographer begin? What inspired you to pursue a career as a photographer in the music industry?
When I was a teenager, I spent most of my time at gigs. I was obsessed with bands and the idea of touring, but this was pre-instagram and Facebook and I never really remember seeing photographers that were working for the artist. Taking pictures at gigs really only started because I had this irrational fear of forgetting, which I still have, and I had my camera with me wherever I went.
My first professional job was for a website called Faster Louder in Australia. It was a very small metal festival and I really had no idea what I was doing or how to use my camera. There were some shots I took that night that were actually a mistake when I accidentally changed my shutter speed. But there was something really cool about them, so I leaned into that style and I ended up using some of them in my final Visual Arts project for the HSC.
Whilst I was researching for it, I came across Ryan McGinley’s work with the Smiths when he toured with them for a short time. I think his shots were definitely a lightbulb moment for me, the first time I’d actually thought being a tour photographer could be a possibility. My project ended up ranking in the top 2% in the country and was selected for a major exhibition. At that point I thought, shit, maybe I’m actually sick at this!
What unique challenges do you face as a photographer who regularly tours with artists?
You have to be so organised on tour. You have to always be ready to capture a moment but you also have to set aside time every day to set up office, edit and generally keep your shit together. So there’s no real off button when you’re on tour. While the band and crew have tasks and times, you could technically be working all the time. Touring can be exhausting, but it’s in the best way.
It can also be challenging maintaining any kind of regularity when you tour a lot. I get into healthy eating and exercise habits when I’m off tour, and they all tend to go straight out the window when I’m back at work. I’m shocking at keeping in touch with my friends and family, and I tend to experience real emotional lows when a tour ends.
Which part of the creative process do you enjoy the most? Do you prefer a live or portrait shoot?
I actually prefer all the moments in between. Directing people isn’t my strong suit so I’m not a huge fan of the studio environment. I love shooting gigs because I love being a part of something, I know is so formative and exciting for the people in the crowd. Watching them react and remembering how much those moments meant to me growing up. The moments I really live for, though, are those just before and after stage that no one really gets to see. My favourite shots always come from the dressing room or just before the artist walks on stage.
What is a project you’re particularly proud of and why?
It goes without saying I’m so proud of how far Lewis Capaldi has come in the time I’ve known him. When I met him I remember thinking he was quite shy, and he hated the camera. I was able to witness his rapid success as an artist but also his growth as a person and I’m really grateful for that, and to be able to contribute in some small way.
What is on your bucket list? What do you hope to achieve/do in future?
I don’t tend to look too far in the future, but this year I’d LOVE to have the opportunity to tour in America. That’s been on my bucket list for a long time. Later in life, if I get sick of touring, I’d love to be a photojournalist. Steve Mccurry is one of my all time biggest inspirations. I probably just want to be him when I’m older.
What artist or band are you loving at the moment and would like to work with?
I love everything about the 1975. I think they’re such an interesting band. I wouldn’t necessarily want to tour with them, I think their photographer is incredible, but I’d love to work with any of the artists in the Dirty Hit family.
What is something you have learned from a project that you have taken with you?
When you tour with an artist for a long time it can be hard not to get attached in some way. These people become like your family and you actually end up spending more time with them than you do anyone else in your life. So something I’m learning now is to be okay with moving on. That tendency to get attached has meant that in the past I’ve stayed on projects longer than it was beneficial for me emotionally and creatively.
Last song you listened to?
Space Cadet - Beabadoobee
Last film you watched?
Just Mercy.
What do you get up to when you’re not working? Any guilty pleasures?
I’m a bit of a home body when I’m not on tour, so I spend a lot of time inside watching Bon Appetit on Youtube, watching Netflix and playing video games. My plants are like my children and they bring me a lot of joy. I like to cook as much as possible because I don’t really have that option when I’m working. I spend a lot of time at the pub with my friends, and I try to get to the ocean as much as I can, even when its cold. So I guess I’m actually pretty boring!
For a beginner or someone wanting to learn more about photography, where’s a good place to start?
I think it’s just really important to keep shooting and developing your eye. Don’t stress too much in the beginning about having the best gear or being the most technical or knowledgable, because you’ll keep learning every day as long as you keep doing it. Take photos of your friends and always have a camera on you. The pictures I took of GIRLI on a shitty 35mm point and shoot when we were just out drinking turned into three years of touring together, and now it’s my job.
What advice would you give your younger self?
I think I’d tell myself to be less afraid of making mistakes. I think that’s really held me back creatively in the past. Be confident in your abilities but also be open to the growth that comes from making mistakes sometimes.
You had a very exciting 2019, what was a personal highlight for you?
Glastonbury was a pretty special moment for me. Not because it was necessarily a goal of mine to ever shoot at Glastonbury, but because it wouldn’t have even crossed my mind to think it was possible. I grew up going to gigs and festivals in Australia, and I would have been proud to say I’d made it if I worked for an artist playing mid level gigs and festivals there. Every day when I’m on tour I think about how insane it is that I get to do this as a job but shooting Lewis at Glastonbury was one of those times where I really had to pause and check in with myself. I was doing the only thing I’ve ever really wanted to do, and at that point where it had taken me had so far exceeded any of my expectations.
It was also really cool to have been there at such a unique and exciting time in Lewis’ career, and I don’t know if I’ll ever experience anything quite like that again. He drew the largest crowd that stage saw that week and you could hardly see where it stopped. At the end of his set he kept making the crowd repeat the last chorus of Someone You Loved over and over again so it didn’t have to end, and at one point I’m pretty sure I saw him wipe away a tear. I’ve never worked for anyone who is as adored by everyone as Lewis is.
What’s next for Bree Hart?
This year is going to be really different for me, which is exciting but also a little scary. Last year I was fulltime with an artist on the rise and I knew what most of my year was going to look like, which was a pretty rare position to be in for a freelance photographer. This year I have no idea what I’ll be doing. I’m happiest when I’m on tour, so the aim will be to tour as much as possible. I have a few short runs coming up with Dizzy and Jade Bird, after that it’s anyones guess!
