For this month’s NSE spotlight we had the pleasure to chat to Izzy Clayton, a UK based Music and Entertainment Photographer. Izzy is passionate about music and this is evident in her experience and commitment to covering a large number of bands in her home town of Manchester as well as further afield, resulting in fantastic images which capture the pure buzz and excitement that only live performance can provide.
Read on to find out what it takes to be a music photographer, what challenges there are when working in the gig scene and advice for budding music photographers.
LP: Can you tell us a bit about yourself and what first drew you to photography?
IC: I first picked up a camera during my GCSE Fine Art course, where I began by photographing
landscapes and getting to grips with how a camera works. I went on to study Photography at A-Level, which is where I really started to explore different genres. That’s where I really began to experiment and developed a strong interest in night photography, shooting towns and cities after dark and learning how to work confidently in low light.
In my final year of A-Levels, I decided to try music photography. I’ve always loved music, so combining that with what I’d already learned about shooting in dark environments just made sense. I bought a Canon starter kit and photographed my first gigs on a Canon 250D using the prime lens that came with it.
I began by emailing local venues in Leeds, which was the closest city to me at the time, asking if I could photograph bands there. I shot my first gigs at The Lending Room, where I built a relationship with the local promoter and photographed as many shows as I could. A lot of that early work was learning on the spot. I later started photographing for a music blog, which helped me grow my portfolio and cover a wider range of artists.
After finishing my A-Levels, I moved to Manchester to study Photography at the University of Salford. The music scene there is huge compared to Leeds, which opened far more opportunities and access to bigger shows. While at university, I continued to focus on music photography and eventually joined a photo agency, which led to shooting arena and stadium shows and having my work published.
LP: What inspired you to pursue gig, festival and entertainment photography over other genres?
IC: I’ve been a music fan for as long as I can remember — I grew up surrounded by music and band merchandise, so it always felt like a huge part of my life. During my A-Levels, trying music photography felt like a no-brainer. After photographing my first show, I knew straight away it was the genre I wanted to pursue.
I love the unpredictability of live shows and the excitement of never quite knowing what to expect. As a music fan, it’s also incredibly rewarding to discover new artists and watch bands grow throughout their careers. Since moving to Manchester, I’ve started covering more entertainment events outside of music too, including city events and pantomime. It adds some variety while still keeping that live, energetic atmosphere that I enjoy photographing.
LP: What’s your go-to camera gear and kit when you’re out in the field?
IC: I’ve always been a Canon shooter and have never really felt tempted to switch. My main setup is Canon 5D Mark IV bodies paired with a 24–70mm and a 70–200mm, which cover most situations. If a show has a runway or larger production, I’ll often switch to a 16–35mm to capture wider shots. I also carry a 15mm fisheye for more creative images if it suits the band, and a 150–600mm lens for front of house shoots at arenas or stadiums. I’ll also bring a flash with me for events where it’s needed.
LP: How do you usually prepare for a shoot?
IC: The first thing I check is the shooting position — whether it’s from the pit or front of house — as that determines what gear I bring. If it’s the first date of a tour and there aren’t any images online yet, I’ll look at photos from previous tours and make an educated guess. I always carry a 2x extender in my bag just in case the shooting position changes last minute.
I’ll also look at the setlist and listen to a few songs beforehand to get into the rhythm of the show. With rock and metal bands especially, you can sometimes predict when someone’s about to jump or when effects like fire might go off, which really helps with timing.
LP: Do you have any favourite or particularly memorable musicians or festivals you’ve photographed, and why were they your favourite?
IC: Photographing KISS on their final tour in Newcastle will always be my number one moment. They’ve been my favourite band since I was little — I’ve been wearing their merch since primary school — so it felt incredibly surreal. I was nervous the entire drive up. We were only given the first two songs, and the pit was chaotic to say the least, but I came away with photos of both Paul Stanley and Gene Simmons looking straight into my camera. I don’t think I’ve ever edited a photo so fast in my life. There was a moment during the shoot where Paul threw his guitar pick in my direction and the temptation to reach out and grab it was so high, but I knew with the tight timeframe the photos were more important.
More recently, photographing Oasis on their first night in Manchester at Heaton Park was unforgettable. I’d graduated from university earlier that same day and rushed straight to the gig afterwards. While I’m not their biggest fan musically, the atmosphere when the brothers walked on stage was unreal, and that image became one of my favourites of the year.
LP: What has been the most challenging moment in your career so far?
IC: Early on, shooting Echo & The Bunnymen at the O2 Academy in Leeds stands out as a big challenge. It was my first “proper gig” in a larger capacity venue with a pit, and it ended up being a front of house shoot — something I didn’t fully understand at the time. To make things tougher, the lighting was heavily backlit, which made it a very stressful shoot.
More recently, Coldplay at Craven Park in Hull was particularly challenging. We were shooting from the back of the venue on a dark evening at the end of summer, so lighting conditions were difficult.
The shooting space was also very small, meaning we had to rotate on a single barrier step. For parts of the show, I was holding a 600mm lens above my head and hoping for the best — not ideal when you’re short and trying to keep your arms steady!
LP: Is there anyone or any event you’d love to photograph in the future?
IC: When I first looked through the portfolios of prolific music photographers, I noticed that most of them had a photo of Mick Jagger. Photographing The Rolling Stones would definitely feel like a “you’ve made it” moment, if they tour again.
I’d also love to photograph a major international festival, either in Europe or the US. The line-ups are often incredible, and being able to capture a festival of that scale — with stacked bills and artists you
wouldn’t normally see together — would be amazing. Beyond that, I’d love to tick off more major 70s and 80s bands. That’s the music I grew up listening to, and with so many of those artists currently on farewell tours, I’m hoping to photograph as many as possible — and I’m still holding out hope that Aerosmith might make a comeback!
LP: What advice would you give to photographers looking to break into music photography?
IC: Learn composition early. It’s important to frame your subject intentionally and with purpose. Focus placement matters too — don’t leave your focus point in the centre all the time. Move it depending on how you’re framing the shot and always prioritise the artist’s face and expression.
And honestly, shoot as much as you can. Small gigs are where you learn the fastest — not just how to photograph live shows, but how to truly understand your camera.
