Holly Hemingway-Hill is an up-and-coming 20-year-old concert photographer based in Leeds who has carved out a niche in the vibrant alternative and indie music scene. With a keen eye for capturing raw emotions and electrifying performances, Holly has worked with various artists, including Polly Money, Coldwave, and Panic Shack.
Their work has garnered attention, resulting in features in well-regarded publications such as Taped Magazine and Leeds Living, where their striking visuals have been praised for their ability to convey the essence of live music. Looking ahead, Holly is set to cover the highly anticipated Live at Leeds festival, which will showcase a lineup of exciting acts, including the gothic female-fronted band Luvcat, the nostalgic sounds of Sunday (1994), along with musician and internet personality James Marriott.
In addition to their photography career, Holly is pursuing a degree in Popular Music at Leeds Conservatoire. This academic journey enhances their understanding of the music industry and fuels their passion for supporting fellow students. They actively supply student bands with professional-quality photographs, empowering these emerging artists with essential promotional material to seize future career opportunities.
Below is an image of my portfolio
The Link to my Instagram: https://www.instagram.com/photosbyhollyrh?igsh=MWxvcGU5ajdnNjNxNA%3D%3D&utm_source=qr
and my email: hemingwayrh12@aol.com
Below are links to 2 gigs I photographed for Leeds Living showcasing my work:
One of my key strengths in concert photography is capturing the raw intimacy of live performances. This skill is enhanced not only by the quality of the lens I use, which facilitates stunning depth of field and clarity, but also by the thoughtful compositions I create while framing each shot. Through my experience, I’ve learned that being attuned to elements such as lighting, stage dynamics, and the positioning of both the artists and audience is crucial for achieving impactful images.
When I’m hired to photograph an event, I understand that I’m a representative of the publication and the overarching vision of the event. Therefore, it’s essential to ensure that my photographs do justice to the performer, highlighting their charisma and artistic essence in a flattering light. My primary focus is shooting rock and indie concerts, as these genres resonate deeply with me. However, I am eager to broaden my horizons by exploring other musical styles, as I believe that each genre has unique characteristics worth capturing. This exploration could provide me with fresh insights that I can adapt and incorporate into my preferred genres.
Eventually, I aspire to cultivate a signature style that reflects my artistic vision. I find inspiration in the work of photographers like Lexie Alley, particularly her stunning visuals from the tour with Mitski. Alley’s unique approach to manipulating light and shadow allows her black-and-white images to transcend the ordinary, resulting in photographs with an ethereal and film-like quality. Her ability to infuse creativity into every frame enhances the subject matter and encourages me to push the boundaries of my work.
https://www.instagram.com/p/DAY83fjythZ/?img_index=1&igsh=MWdqM2Z5Mjd6YW82cw==
Supporting commentary
My Electronic Press Kit (EPK) is a crucial component of my portfolio, designed specifically for industry professionals such as publicists, artists, and managers. It is a comprehensive showcase of my work, highlighting my achievements, skills, and unique artistic vision. By providing an in-depth look at my projects, I aim to help potential collaborators understand my style and assess whether I would fit their needs well.
To tailor my EPK effectively, I have focused on featuring artists from the specific genres I typically shoot, allowing viewers to see firsthand the depth of my expertise and the quality of my work. This targeted approach demonstrates my proficiency in specific genres. It enables industry professionals to visualise how our collaboration might unfold, making it easier for them to evaluate my suitability for various roles and projects within the entertainment sphere. I’m always learning with each gig I go to. There have been some photos I’ve taken that I’m not proud of because they are of poor quality. However, having the experience helped me learn from my mistakes. In terms of a career, I’m at the very beginning. I have recently purchased another lens to take more dynamic photos and diversify my portfolio (including multiple people in the shot and crowd photos). I would also love to do press photos and pre-gig shoots for artists. Eventually, it would be amazing to tour with a band.
Regarding Social Media, Instagram is widely used by concert photographers. It is a great place to post your images, as your portfolio is reserved for the best. Instagram is helpful because you can also reach broader audiences with reels; however, consistency would be required for uploading due to how the algorithm works. This takes time and effort, which some people may struggle to put in if they have other responsibilities. Furthermore, it’s more challenging to attract people to follow my account. I could get 2000 views on a post, and only two people will follow me from it. Furthermore, there is no guarantee that the post will even do well in the first place. Therefore, I feel that Instagram should mainly be used for fans of artists to view my work, while my EPK is where professionals can view my credentials.
Concert photography, like many creative careers, is inherently exploitative. The gear required to shoot a concert professionally is expensive, while you don’t get paid for any hit shows. In many professional fields, it often seems that individuals must attain expertise or experience before earning compensation for their contributions. This can create a frustrating situation, especially considering that many believe that fair payment should ideally be offered from the very outset of one’s career, regardless of initial experience. It is essential to recognise the value of one’s work and to provide appropriate remuneration from the beginning, as this not only fosters motivation but also ensures that emerging professionals feel respected and supported in their chosen path.
My EPK is tailored towards indie and rock publicists and artists. This is shown by dynamic positioning and the editing I have chosen to incorporate. Other photographers usually include their EPK with their portfolio. For example, I like how Grace Hall has structured hers. She has implemented important information in her bio and made it easy to navigate. I will implement something similar to this in my own work as I find that it is simple yet professional.
Being a concert photographer comes with a variety of costs that can quickly add up. The most significant expense I’ve encountered is undoubtedly the gear. I consider myself fortunate to have invested in affordable yet high-quality equipment that meets my needs. Over time, I’ve mastered my camera, gaining a deep understanding of its capabilities and learning which settings work best under various lighting conditions and scenarios.
In addition to the initial investment in camera gear, there are other essential costs to factor in. For instance, traveling to different venues can involve substantial travel expenses, whether it’s gas for long drives or airfare for distant concerts. Additionally, I need to budget for food during events, which often means grabbing quick meals on the go or dining out with fellow photographers. It’s important not to overlook other miscellaneous expenses that can crop up, such as parking fees, admission costs for the events, and the occasional replacement of gear.
When observing the pricing strategies of other photographers, I’ve noticed a diverse range of options. Some photographers offer competitive rates while others provide attractive discounts for students, making it more accessible for budding talents in the field. This variety reflects the different approaches to valuing our work and catering to various audiences, which can be very helpful for those entering the industry. For example, Madi Ketley includes travel within her pricing. The low end is £60 for 1 set and 20 edited photos, with the high end being £100 for one live set and 20 edited images, a promotional shoot comprising 10 pictures and a video for social media. She also provides packages for events, portraits, and extras.
Investing in high-quality editing software is vital for photographers looking to elevate their work. One of the most widely recognized options is Adobe Creative Cloud, which offers a comprehensive suite of tools tailored for image enhancement and retouching. This powerful platform includes applications like Adobe Photoshop for intricate editing, Lightroom for efficient photo management and development, and Adobe Illustrator for vector graphics, among others.
Each of these tools provides a robust range of features designed to help photographers bring their creative visions to life. However, it’s important to keep in mind that the subscription comes with a significant cost. As a photographer myself, I see this expense as a crucial investment in my craft, but it’s essential to weigh the features and benefits against your budget when making a decision. Beyond the financial investment in the software itself, it’s equally important to account for the time dedicated to the editing process. Editing can be a meticulous task that requires skill and attention to detail, and this labor should be fairly compensated in the overall pricing of photographic services. Including the time spent on editing in your pricing structure ensures that you’re valuing your work appropriately and providing clients with a comprehensive understanding of the costs involved.
When exploring the complexities of copyright in the realm of photography, it is crucial to acknowledge the diverse range of stakeholders involved in this conversation. One prominent player, Adobe, has made notable advancements in combating copyright infringement through the introduction of a groundbreaking feature designed to embed personal metadata directly into its images. This innovative tool not only facilitates the identification of original photographers and artists but also plays a pivotal role in curbing unauthorized use of their creative works. By incorporating such metadata, Adobe empowers creators to maintain control over their intellectual property, fostering a more respectful and fair environment for artistic expression in the digital age. Typically, photographers retain ownership of the copyright for their images unless they enter into an explicit agreement that states otherwise. However, there are circumstances where the rights to the photographs may transfer to other parties. For instance, in some cases, specific venues, artists, or their management may acquire ownership of the images through contractual agreements. These arrangements can often arise when the photographer agrees to specific terms, potentially relinquishing their copyright to capture imagery at events, performances, or art exhibitions. Understanding these nuances in copyright ownership is crucial for photographers to protect their creative work effectively.
Evidence of Group Work
I recently presented my Electronic Press Kit to a group of people for their feedback, and they offered some valuable insights. One of the first things they highlighted was the selection of photographs I chose to include; they described them as visually striking and suggested they effectively showcased my strongest work. However, a critical observation was made regarding my portfolio being dominated by only two publications. While these affiliations are reputable, the reviewers expressed concern that this limitation might restrict my exposure to new opportunities. In light of this, I plan to explore collaborating with additional publications to broaden my horizons and diversify my portfolio.
Another constructive piece of advice focused on the organisation and presentation of my EPK. The reviewers suggested that I expand upon my current essay format and work towards creating a more streamlined and polished version of my press kit. They emphasised the importance of clarity and neatness, which would enhance the overall impact and accessibility of my materials.
Additionally, we discussed the significance of my online presence, which, unfortunately, is quite minimal. The reviewers pointed out that enhancing my social media profiles and personal website could provide potential employers and collaborators with deeper insights into my professional journey and personal interests. Strengthening my online identity would showcase my work and allow others to connect with me personally, fostering relationships that could lead to future opportunities.
In addition, they acknowledged my keen awareness of the pervasive issue surrounding the exploitation of photographers within the industry. They highlighted my comprehensive grasp of the underlying factors contributing to this injustice, such as the undervaluation of creative work and the pressure on artists to accept low pay. Furthermore, they emphasised my firm conviction that such practices are fundamentally unacceptable and detrimental to individual photographers and the integrity of the entire profession.
