THE FILM

Film Ferrania P30 Portraits

Music sounds better when you’re making pictures. Concentrating on light, timing, composition muffles the wandering thoughts that would have polluted the music had one not been holding a camera.

If you shoot enough gigs you know much of what’s visually coming in a band’s set. What draws you in are the moments outside the structure. I’ve included some of these below, along with others that fit more on the conventional spectrum. I don’t consider all of what’s presented to be my best work as a music photographer in New Zealand. That said, the pictures are on this page as they represent a spirit of the gig, from my memory of it, or they represent something that’s taken a while to form in my thoughts.

I hope you find something for you.

Why I chose this picture:

When writing for drama, the writer typically drops the audience into the scene as late as possible, and then removes them as soon as possible. The padding either side can go hang, apparently. Or something like that. Nevertheless, I expect you’re in a rush so we’ll crack on.

The artist in the picture is Harry Le Cheminant, lead vocalist of Ōrewa band Th’Goodside. He’ll see about a hundred faces when he opens his eyes. A hundred ain’t bad going. It means the front third of Galatos is a bit of a squeeze. Given a choice between enviable streaming figures and a live gig in which people have to duck and weave to get through, I’d take the ducking and weaving. 

They’ve made an effort these people; the ones Harry’s about to look at. It’s Friday night in mid-December in Auckland. You’ve haemorrhaged money on tat and you’re about to haemorrhage more at your summer festival of choice. It would have been so easy to have stayed in. People do, you know. But not these people. The demands of the season have no influence here. These folk are here because of the band.

I get the sense they’ve seen them before. I recognise a few from an earlier stop on the band’s tour to mark the release of their EP Close to Home. That earlier stop was in Mount Maunganui, 201kms from where I’m standing, stage left. One might think they are friends or family, but friends and family act differently at gigs. They tend to stand to the side or at the back where they don’t distract the one they’re connected to on stage. These ones I recognise are near the front. They know the words to the songs and they know the songs they want played. The track Feel gets shouted more than others. I’m glad of this, and I’ll tell you why. New Zealand hasn’t had an artist or band produce an opening title to a Bond film. It’s high time we got the call and I’m going to make the call that Feel should be in the running (the 45-55 seconds stretch on the track is the clincher for me, I’m sure Barbara Broccoli will agree, get her on the blower).

Feel gets played. I think it was in the encore. The people get their way and the band, consisting of Harry, plus Oliver Wallace-Pram (Lead Guitar), Evan Fairgray (Bass), Grant Heyns (Rhythm Guitar), and Visko Bryers (Drums), say goodnight. 

They’ll be back, I’m sure, as shall I to Galatos. It shall require planning though. And patience. To get the shot you’ve just looked at required both. In case you’re a reader who is into bullet points, we’ll get into some. And in case you would like to get into music photography, these are just a few.

Things that had to happen to get the shot that had nothing to do with light, timing, composition

  • I needed to finish my day job in Tauranga early so that I could get to Auckland in time because when you hit the Bombays the journey turns to custard and you don’t move (which is a problem  as I have very little patience and I dislike sitting down)

  • That meant starting work early, two days in a row to accumulate time, which meant going to sleep the night before earlier, which meant everything happening earlier

  • Booking an airbnb place to stay and said place being not too far from the venue

  • Parking near the venue, which wasn’t possible, which meant parking 2.5kms away (the night in question was peak office Christmas party booze up and K Rd et al was chocka).

  • Finding something to eat with two cameras attached to me

  • Doing the gig (which was great) and getting back to the car on a dark street at midnight without drawing attention to the two cameras I was holding

  • Sleeping little cos I was wired

  • Driving nearly 200km home, making the roundtrip around 400km

  • Sitting down again in front of a computer (which is the part of photography I’m least into)

  • Creating two file sizes of the versions I like. Version one is for printing. Version two for website.

  • Cleaning cameras, lenses, charging batteries, unpacking.

  • Drinking multiple cups of coffee, tea

  • Playing more than normal with my dog as he hadn’t seen me in like, hours, and was like ‘where you been, play with me.’

None of the above is out of the ordinary. There are music photographers who do way more than this all the time. And there are bands for whom the above would represent a quiet day on tour. Some don’t even make a dime. Some make a loss. They all make memories. Is that enough? Not always. Memories don’t pay bills. But when the music is good, and it was damn good that night at Galatos, you don’t linger on the admin and the banality of going from A to B. Instead, the musical firebrand in you shouts ‘do it again… do it!’

And so you do.

Why I chose this picture:

I have a soft spot for Waihi Beach Hotel. It’s an unconventional live music venue in that the site has a restaurant (Italian-themed), cocktail lounge with fancy armchairs, a normal (yet very nice) bar, motel rooms that are pitched as ‘privately contained units’, and a space out the back for gigs. It’s also a wee bit out of the way on the New Zealand live music circuit, yet not so much it should deter any band from going there.

Waihi Beach is always summer to me, even in winter. Think baches (inherited weatherboard and cashed-up new), family campgrounds, mini putt, gorgeous beach, an epic Mexican street food spot called The Secret Garden, and the guaranteed smell of fish and chips come dusk. You probably wouldn’t travel there for a gig from Tauranga unless you were really into the band, which leaves the inland Waihi (population 5k ish) and Katikati (also around a population of 5k) the closest towns to provide patrons after Waihi Beach locals and holidaymakers.

And yet, Waihi Beach Hotel (circa 1967) has long been a tour stop for many an impressive group. For example, The Feelers, Daffodils, Soaked Oats, and Marlin’s Dreaming. On December 29, 2023, the list was extended with another stellar band: Drax Project. This is a band that has opened for Lorde, Christina Aguilera, Ed Sheeran, and Camila Cabello. I first heard them like many did, through Woke Up Late, a 2017 track I would play as I stepped off the train at Paddington to head into the hustle and bustle. Fate, or more likely an algorithm, got me hooked on it for a wee while through the video, the original one filmed in Wellington, replete with reminders of home: a suburban bakery, hotchpotched homes on hills, berms wider than UK roads, a graffitied artillery battery, and op shop fashion. In the glum darkness of an English winter I retreated to its scenes, mollycoddling homesickness instead of putting a noose around its pain in the arse throat, until spring arrived in the old country, bringing daylight, daffodils, and new tunes. Which is where I left my interest in Drax Project.

Until Waihi Beach.

Now I know I took pictures at the gig as I have them on a screen. But I also know I spent most of the time at the gig thinking ‘these guys are incredible’. And they are that, incredible. What a band. What musicians. Coming off the stage in the picture above is bassist Sam Thomson. I have one more shot to take and it is this one of Ben, wiping his brow. He’s given the audience his all, along with his friends (lead vocalist and saxophonist Shaan Singh, drummer Matt Beachen and guitarist Ben O’Leary, who went to school at nearby Katikati College). They’ve done the encore and the lights have come up. The bulk of the crowd has left, heading out through the cocktail lounge into the stillness of the seaside town night. Some linger, staring at the stage as the show comedown kicks in.

As for me, I’m coming down too and kicking myself I didn’t go to other dates on the tour.

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Why I chose this picture:

Nectarine overdose. Parrotdog on ice. And a flashback. The above den of joy, house music, bongos, bunting, art installations with tentacles, and rampant hugging, delivered them all. On the Nest Fest rundown it was the Market Stage, for it was where people sold vintage threads, Ilford 400, and well-meaning folk made a pitch for you to sign up for something meaningful. 

It started so quietly that day: January 9, 2021. Enclosed by drooping trees, and with dust at one’s feet and vineyards a cork pop away, stepping into this scene was like stepping into a sleepy Mediterranean village. Early risers, down in Hawke’s Bay from the big smoke, poked their heads in and made their way elsewhere. This was not the place for the vibes. Not yet.

Not yet passed. And it was on. This was the place to be. From mid-afternoon to dusk, this dance enclave was Cafe Del Mar in a vineyard. Black Barn Vineyard. The dust at one’s feet could no longer be seen, for one did not look down. Just at each other. Smiling. Embracing. Dancing. Drinking. Eating.

The drinking was Parrotdog beer (gratis if an artist… or a photographer). The food: Nectarines (also gratis, which led to the overdose and a grumpy digestion). The dancing: By people who knew how to dance on speakers, benches, hay bales, and whilst piggybacking friends with balance.

Which brings me to the flashback. It didn’t happen with the DJ in this picture, but the vista was little different. People. Lots of them. All having a good time. Me too. Standing up there in the DJ booth, supping on a Parrotdog and snapping away, this was being young and carefree again, and caught up in the moment.

Which is probably why I didn’t notice it at first. 

Something had changed. 

The DJ was no longer there.

It was just me. 

In the DJ booth.

And a track that had outstayed its welcome. 

Oh.

Here cometh the flashback.

It’s the summer of 2000. And I’m in a DJ booth. Only I’m not working as a photographer. I’m the DJ. The actual DJ. And I am actually in the Mediterranean. On the island of Crete. In a crazy party town called Malia. 

Some context. Back then, and today, my two greatest obsessions were 1) Liverpool Football Club and 2) House music. I carry these obsessions quietly. I don’t need to shout about them. But they are my obsessions. And in the summer of 2000, obsession number two led me to being a DJ in Malia. 

My dear friend Adam, who knew everyone of note on the strip, and seemingly was respected by everyone of note on the strip, got me the gig. 

One night, a bar owner asked him, ‘Do you know any DJs?’

‘Dave’s a DJ’, said Adam, pointing to me.

‘You can DJ?’ 

‘Yeah, I can,’ says I, bending the truth.

‘Come tomorrow. You play.’

I got asked to do a trial. I passed. I got the gig.

For the life of me I can’t remember the bar’s name. I can picture every part of it though and also where it was located on Dimokratias Street (a.k.a the strip). Apparently, so says Google Maps, there’s a bar there now called Zoo, so, let’s go with Zoo for convenience, not fact’s, sake.

Zoo was huge, outdoor, and had a bucking bronco that cost buttons to have a ride on, but cost you your dinner if you’d had too much ale. Everywhere you looked in this joint you saw bamboo, drinks with parasols, and staff in flowery shirts. Put it on the water and you’d be on a cruise ship.

Now if you’ve been to a party island, you’ll know there’s a hierarchy to a night on the strip. You never go to the best place first because the best people aren’t there yet. And you don’t go to the up-and-coming spot as that’s an hour or so from peaking. You find a small (ish) launch pad, then scale up.

Zoo was not the first stop on a night out, and neither was it the last. It was in between, or the place you’d go if you’d had a large one the night before and couldn’t handle the Factory (the names are coming back to me now) but wanted more than the Red Lion (great spot in the day/early evening, cracking menu and gave us ‘workers’ a discount).

My job was to get people to two drinks. In they’d come, typically as a group of 4-6 lads, peacocking across the tiles, all sunburnt and moisturised, guys looking like Popeye in their tight River Island t-shirts, looking at the girls looking at them, waiting for a wink, a smile, a something that promises something. 

First, the fishbowl, a Dirty Dancing-sized watermelon chopped in half and filled to the brim with cheap juice and cheap liquor. Popeyes would crowd at the bar, getting all matey with the Uni-break bartender, cajoling them to let loose on the spirits as it was someone’s birthday/first time abroad/first time anywhere. And then they’d get to work on the bowl. Party straws clamped between chapped lips, these professional guzzlers would drain the watermelon dry in seconds, fist pump, and declare to no-one listening that they should ‘***** have it.’

As the bravado passed, a big call had to be made by the lead alpha at the trough.

‘Want another?’

If people were dancing, and more people were joining the dancefloor, then they’d always stay. It’s just a thing that happens. You don’t leave somewhere when it’s getting going or you’re too drunk to walk.

Instead, you order a second bowl and stare at the dancefloor, unaware the bartender was following house rules and lowering the potency.

More cheap juice + reduced spirit = more profit. Bar owner happy. Boys watching the dancing happy. Everyone’s a winner. I’d got them to the second drink. Job done.

The music won.

Only it had to stop. At once.

I was being lasered.

Not lasered like split in half, science fiction lasered. This was a red laser pen, pointed at me by Spotter John. Spotter John wasn’t his real name, but it’s how I knew him. Old Spotter (lovely man) was an ex-pat Brit who had retired to Malia’s old town and earned a few drachma (we’re in a pre-Euros age) by standing at the door looking for the police, ready to point his laser at me any time between midnight and 4am. 

If I got lasered, the music had to stop. I didn’t believe him at first. I mean, this is one of the most hedonistic party strips on the planet. Why should the music have to stop at midnight?

Noise pollution. At least, that was the reason I was given. 

Whether the music had stopped or was playing full volume, it didn’t matter. Along the police would come. The bar owner would go out and shake hands, exchange money and the music could resume. 

Happy days.

‘You got Angels, mate?’

‘You what?’

‘Angels… you got Angels?’

Every night, irrespective of what I was playing, a pissed young holidaymaker would want to sing along to Robbie Williams.

Bless.

No. I didn’t have Angels.

Flashback ends. I’m back in Hawke’s Bay. The DJ returns from the portaloo and all is well.

I finish the Parrotdog, raise my camera for a final shot and step away.

So long DJ booth. 

Thank you for the trip down memory lane.

Black and white portrait of a woman with dark hair, seated outdoors, wearing light-colored clothing, looking at the camera with a gentle expression.
Black and white portrait of a woman with short hair, wearing a t-shirt, outdoors with blurred hills in the background.
Black and white portrait of a woman with dark hair, wearing a sleeveless top, with an outdoor natural background.
Black and white photo of a woman with long, dark hair, wearing a sleeveless top, jewelry, and with her arm raised above her head, standing amidst rocky terrain.
Black and white photo of a young woman with long dark hair, sitting outdoors with a serious expression, arms crossed, and looking into the camera.
Black and white photo of a young woman with shoulder-length hair sitting outdoors, crossing her arms over her chest, with trees in the background.

Why I chose these pictures:

The Underground is not under the ground in a Beehive bunker type of way (though it is below street level), and neither it is underground in the abandoned industrial early 90s rave culture, only those in the know know, type of way. For one, it is located in the world famous (in Auckland) St Kevins Arcade and is just a few steps away from a mixologist, barista, barber, chef, pizzeria and some epic vintage threads. And two, since it opened in 2021 it has been an all ages venue, providing young people who appreciate original live music by their peers a place to go at night.

Before we move on, I’m going to introduce some sadness. In late May 2023, the last gig was held at The Underground, though it continues as a fantastic space for artists to hire. I would like to salute the tremendous commitment of those who launched The Underground and kept it running as a live music venue. You provided many a young band the chance to perform and develop their craft. Thank you. I shall pick up below my memory of the picture I took, albeit by referring to The Underground in the past tense.

Aesthetically, The Underground was rad, largely in part to it being an old, gigantic vault. The door appeared original in that you would need dynamite to prise it open, and there was no natural light. To the left was a burgundy leather sofa from a cigar era, the stage was not a stage but just a power-cord lined section at the back of the room, and the ceiling was flanked by the structural foundations of the arcade. It was solid, felt air-raid safe, and was square-box shaped which meant noise bounced around with no nook and cranny to escape except for the bathroom that was next to the ‘stage’ and was reached by sometimes having to step onto the stage. Spending a penny came at the cost of feeling awkward.

When a band had more than three people, things got cramped, hence why in the picture above you’ll see the guitarist for FESHH playing statue as his bandmates prepare for their set as part of The Others Way Festival. Out of shot are three other band members. When all six - Shay, Lilith, Vinnie, Sonnie, Max and Beau - are all good to go, and the audience edges real close, everyone is in everyone’s business. And yet it worked. Just as it worked for the band Melanie (that’s their drum kit in frame) that came before FESHH, and for Late to Chelsea, Buzz, and The CMC, the acts that followed on The Others Way bill.

There are others it worked for. Zoom in and you may well recognise a few of the names on the wall. I do. The Butlers. Marmalade Skies. Lime Cordiale. Coast Arcade. Groups that came to The Underground and made a contribution to live music in Auckland, just as every patron did by walking through that big old vaulted door.

R.I.P. The Underground.

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FAQ about Film Ferrania P30

Where do you provide your wedding photography service?

I mainly work as a wedding photographer in Tauranga. Plus, I’m available as a wedding photographer in Katikati, Ōmokoroa, Waihi, Waihi Beach, across the Western Bay of Plenty and Bay of Plenty. Please don’t hesitate to let me know if there is a location you would like me to provide wedding photography at. For example, I’ve been an elopement photographer at Falls Retreat in the Karangahake Gorge.

Do you do both colour and black and white wedding pictures?

Yes, not a problem. Most clients like a mix of both. Sometimes, I might get a rough guide, eg, 60 per cent colour, 40 per cent black and white. Ordinarily, I’m trusted to make the right judgement on what makes a strong colour photo, and what makes a strong black and white picture.

How would you describe your wedding photography style?

What’s essential for me is to ensure every couple gets the ‘must-have’ wedding pictures they have asked for. I’m always seeking too, candid moments that capture the genuine feeling and beauty of the day. Whilst some wedding photographers like to use presets and roll them out for an entire gallery, my style is to look at each picture as if it was a stand alone photograph. On the day, I can give lots of direction if it is needed, or as little as is required. It’s all about blending in with the day as if you were someone you had known for a long time.

Can you take pictures throughout the day?

Yes! I love to do this. I’m typically asked to take pictures of the preparation (eg, final touches to hair and make up, then the bridal party hanging out), then the ceremony, group photos, couple photos, reception arrival, speeches, and cake cutting.

Do you give direction during the couple pictures?

Of course, not a problem at all.

Can you take first look pictures before the ceremony?

I love to do this! Please let me know if there is a location you have your heart set on for a first look. If not, I’ll suggest a place that will be best for closest to your ceremony location.

Do you provide a wedding videography service too?

I’m afraid not. My sole focus is on providing still images that you can treasure forever, and one day possibly print and hang on your wall.

What is your additional time on site charge?

It is an hourly rate of $95 (please bear in mind that one hour extra on site can be an extra hour of post processing for me. So one hour on site, is for me, two hours of work - though the client is charged for one).

What is the cost of ordering extra photos?

For the option to purchase further photos, the price is $150 for 50. These are also pictures selected by me and added to your digital gallery and download package.

Can you also take pictures of the other party getting ready?

Sometimes, a couple will love to have both groups getting ready (eg, the bride and the groom). If the groom is getting ready very close by (eg, a five minute drive at most), then I can take a few pictures of the groom and the groomsmen. Or, I can arrange for a second photographer to do this (please see Option Two of my pricing). Ordinarily, couples ask for just photos of the bridal party’s preparation.

I want pictures exactly like the ones I have as examples - do you do that?

Good question. Some photographers have no problem with this, and that’s all cool, but I’m afraid I don’t do copies of other people’s work. E.g, if you have a picture you like on Pinterest etc and you’d like an exact match, I can’t do it as I prefer to avoid copying work, and there are a host of variables out of my control, in particular time available, location, and lighting. Instead, I am really into capturing the essence of what you like. So, the kindness and friendship, and tenderness of the moment.

Do you take detail shots like the wedding rings and shoes?

Yes, if you would like them. I should point out that the way I do these shots are to have the items (eg, rings, shoes etc) in a natural setting. For example, shoes underneath a hanging dress, or the ring in a box close to where the bride is getting ready. I’m afraid I don’t provide styled product shots using a flat lay. Hope that’s ok.

What are the steps to booking you?

Please send me a message to enquire as to my availability and if there is a pricing option you have as a preference. If I’m available, the next step is to chat remotely, or meet in person if convenient for both parties, and I can send an example online gallery too. After that, if you would like to proceed, I send an invoice for a 10 per cent deposit, and a contract signed by myself and to be signed by you. Once that is done, the booking is confirmed.

How quickly do you turn around the wedding pictures?

I always aim to provide the digital pictures for the Essence and Classic packages within 7 days of the wedding. Plus, sneak peek pictures are provided within 24 hours of the ceremony ending. For the Full Day package, the digital delivery is 9-10 days.

Do you provide a physical album?

For the Classic and Full Day packages I provide an A3 black and white print of your choice. I can also provide additional A3 prints for $115 a print. I’m afraid I don’t provide a physical album.

Do you sell the SD cards or sell the raw files?

The short answer is no, I don’t sell them, or provide them . The service provided is one of me curating the pictures taken, editing them, and providing those. Please don’t hesitate to ask me anything about this. Here to to help!

Do you provide every picture taken for a couple to look at?

Typically, no (yet to be asked). As it involves additional work, there would be an additional cost. It’s important to note that I don’t provide raw images. Thank you for your understanding.

How big are the large file equivalents available in some packages?

They’re big! Typically anywhere from 15mb to 35mb, at 240PPI. You will need to open them on a laptop or desktop. The smaller file equivalents are much more suited for sharing via a phone/social media.

Do you have a favourite wedding venue?

I have so many! The Elms in Tauranga is epic, and is in a great location, whilst a backyard wedding is really intimate. Near me is Ōmahanui Wedding Venue at Whakamarama near Tauranga. It is serene and ever so beautiful.

Can you start the time on site from the moment of the bridal party arrival?

Good question. If you’ve booked, for example, the bronze package, my time needs to include being on site ahead of the bridal party arrival. This is a really important preparation time to make sure lighting checks are done and pre-ceremony shots are also taken.

Do you provide an engagement photo shoot service in Tauranga?

Yes, I am available for hire as an engagement photographer in Tauranga, Mount Maunganui, Papamoa, and Katikati. Please send me a message and I’ll get right back to you. The price is $395, which involves an hour photoshoot, plus at least 40 edited and selected digital pictures by me, sent as small files and also as large files (more suitable for printing). An example of my engagement photography work is the picture above with the beach and the sunset (and the amazing couple smiling). Congratulations on your engagement!

Do you provide a bridal gown photography service?

I do, yes, and love working with bridal gown designers. For examples, there is a picture above taken in London (the one with the church window behind), one at The French Country House near Tauranga (look for the picture taken with the fence and the countryside in the distance), and one taken in front of a mirror (the earrings one)

Music Photography Galleries

How to get in touch

To make an enquiry, simply send me a message via the form below and I’ll get right back to you. I’m based near Tauranga, New Zealand and work across the country.