Who is your favourite artist? Scarlet Page has probably photographed them. Over the last three decades she’s been behind the lens at festivals, gigs, and backstage with the great and the good of rock music and beyond. In celebration of her work, she’s putting on a special exhibition, showcasing some of her most iconic shots…
“I’ve been really lucky to make this my career,” smiles Scarlet Page. At her aptly-titled 30 exhibition launching in London on September 12, the iconic music photographer is celebrating three decades behind the lens. And while those 30 years have been a lot of fun, they've also been hard work.
From trudging around muddy festivals with heavy gear, to flying around the world for long, challenging shoots, Scarlet has immortalised some of our most beloved musicians – from Dave Grohl and Slash, to Courtney Love and Paramore.
To celebrate her landmark career anniversary, some of her most famous photographs have been transformed into luxury metallic prints at Behind The Gallery in London, where you’ll be able to view them in all their glory for a limited time.
While in the midst of some home renovation and her weekly grocery delivery, Scarlet joins Kerrang! to chat about her favourite memories, and how you can get yourself in the photo pit…
What was your journey into music photography? Where did you start?
“I wanted to do something with art but wasn’t sure what. After school I did a foundation course, and you had to have a camera. My tutor was brilliant and really inspired me. I thought, ‘Right, I’m going to do a photography degree.’ I just loved it. I started assisting different photographers – one of them was Ross Halfin who was a Kerrang! photographer. I made contacts, and started shooting my own stuff. I went on a Lollapalooza tour with some air miles I’d amassed and managed to get some shots, which ended up launching my portfolio. There was a shot I took of The Verve, and that ended up on the inside album cover of A Northern Soul, but I was predominantly shooting Beastie Boys and Smashing Pumpkins.”
For this exhibition, you’ve selected 30 photographs to symbolise 30 years of your work. How did you go about selecting the ones that made the cut?
“I think editing is my least favourite thing. Someone said, ‘It’d be good if you got one image from every year’, but I couldn’t do that… As time [has gone] on, some of these images have become even closer to my heart, because they become a bit classic, dare I say! There’s quite a few old ones, but there’s two from the last six months – one of Dave Grohl at London Stadium, and Coldplay. It’s generally quite rock-based. I’ve also created a massive montage that’s like five-feet high.”
You’ve photographed many artists for us over the years. Are there any Kerrang! shoots in particular that really stick out in your memory?
“There’s so many. There’s one of At The Drive-In, I loved working with them, and Brian Molko [of Placebo] with the angel wings that was shot in ’97. That is such a big picture in my archive, and it became quite big for the band because I think the angel wings were something they ran with for a while afterwards.
“I [also] went on a trip in 2000 for Kerrang! with Anna Maslowicz [owner of PR company AMPublicity]. We flew to Orlando to shoot blink-182. They were staying in a golf hotel complex. None of them were playing golf at the time so it was a bit random, but there was this mock waterfall near the bar, and the idea came about that it would be cool to get them standing in it with some smoothies (laughs). Tom [DeLonge] was completely sunburnt. I just love the weirdness of it.”
Were there any shoots that were more challenging?
“There was one that I did for Kerrang! of Weezer in Barcelona. I think Rivers [Cuomo] was going through quite a difficult time in his life. As the day went on, it became obvious they [weren’t] going to do anything outside. [I thought it] might be in the hotel, so I got it ready there and then it didn’t happen. By the time we did the shoot I couldn’t draw much out of him. I enjoy reaching into who the person is and not just the outside they present, so that was one where I failed because I couldn’t really get through.”
You’ve photographed a handful of artists who have sadly passed away, and it feels like these photos have taken on a new meaning. What’s that been like for you?
“With Amy Winehouse, I’ve really found that. Sometimes as a photographer, you’re so close to something that you can’t see it how other people are going to see it. I [took] some fly-on-the-wall shots as she was doing interviews on an early digital camera, so the quality wasn’t incredible.
“For an exhibition a few years ago, I was asked to look into my archive of Amy. I presented a few options and was like, ‘They’re not very good,’ and they went, ‘No, this shot is incredible.’ Something in her gaze was captured that evoked something in other people that I couldn’t see at the time, but now I can. It’s the same with Taylor Hawkins or Chris Cornell.”
What advice do you have for aspiring photographers?
“Do as much of your own work as possible, like setting up a project. Shoot at your local venue and try to get extra shots, not just performance shots. I’m inspired so much by young photographers. It makes me think I really need to pull my finger out and work harder!”
Scarlet Page's 30 exhibition is at Behind The Gallery in London on September 12 – 15
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