“The importance of preserving jazz and blues music is because it’s such an essential part of our American history in our growth as a nation and in the arts. As art forms, they provide the basis of many other types of musical inspiration even extending to visual arts and in many cases, political and social commentary.”

Alan Frohlichstein:

The Images of the Windy City Soundtrack

Chicago based Alan Frohlichstein is one of the most versatile music photographers of Windy City. Alan says: “I have always enjoyed music, and I am especially drawn to live performances of Jazz and Blues. From a photographic standpoint, I often find the musicians visually as fascinating as the music they are creating. Capturing the performers when they are in the moment (caught in the act) is what I enjoy the most. On my web site is an introduction to my work. I hope you enjoy it as much as I have enjoyed producing the images.” Alan Frohlichstein has Bachelor of Fine Arts in Photography from Ohio University and a Bachelor of Science in Biomedical Photographic Communications from the Rochester Institute of Technology. He have worked as President of Retinal Angiography Services providing Retina; Angiography, Ophthalmic Imaging and consultation in the Chicago area.

(Photo: Alan Frohlichstein, Chicago based music photographer)

Alan says: “The act of photography is what drives me. I feel empowered looking through the viewfinder. Photography gives me a way to express the world as I see it. I would say most of my work has an optimistic bent. Music is uplifting and energetic, so I feel the energy photographing a performance and want to translate that into a visual image. Caught in the Act is the idea. I want anyone looking at my photographs to feel engaged and that they can hear the music and feel the energy the performers exude.”

Interview by Michael Limnios                       Photos © by Alan Frohlichstein

How has the music and photo art influenced your views of the world? What characterize your photo shooting artistic philosophy?

I do a fair amount of scientific writing, but I find the visual input a more complete immediate form of art and expression in photographing music, I feel a connection with the artists and the music as I try to visually capture what they are performing. Music has a profound influence on me. For most of my life, I have studied while listening to music, as it helps me focus on what I study. I relax and learn while losing a sense of time passing, so I’m not bored or distracted. I select music that works with what I need to concentrate on. As I am writing this, I am listening to WDCB, a Chicago Jazz and Blues station. I am strongly visually oriented. Music gives me the opportunity to process the audio input in a visual way through my camera. This leads me to deeply listening to the music, connecting with the performers and feeling more engaged and observant of the world around me. My approach to photography is often preconceived of the framing I want, and anticipating when the performers will move, turn or give me the look I am working towards.

“I think the music itself has a great impact on our society, and the greater the exposure the better. When someone looks at my images, I not only want to engage them in seeing the music performed live, but I want the image to give them a sense of being there, of hearing the music. When someone says I saw your photograph and I could hear the music, I take that as a great compliment.” (Bob Stroger & Bettye LaVette / Photos © by Alan Frohlichstein)

What do you love most about the act of photography? What do you think is key to a good image?

The act of photography is what drives me. I feel empowered looking through the viewfinder. Photography gives me a way to express the world as I see it. I would say most of my work has an optimistic bent. Music is uplifting and energetic, so I feel the energy photographing a performance and want to translate that into a visual image. Caught in the Act is the idea. I want anyone looking at my photographs to feel engaged and that they can hear the music and feel the energy the performers exude. If my photography conveys this to the viewer, then I have accomplished what I set out to do. On occasion, one of my subjects will get in touch and comment on how I captured their essence or soul. To me, that is high praise. Beyond the technical side of photography, I want my images to be clean, well composed, well lit and free of distracting elements. I approach my work as live action portraiture.

What I love most about the act of photography is the need to anticipate what is about to happen and visualize it to prepare to capture it as it happens. If you press the shutter when you see what you want, you’re probably too late. Working with musicians provides an animated atmosphere where I have to visually and aurally connect with the artist and follow their moves to get the shot that I want.

Are there any specific memories or highlights of your career that you would like to tell us about?!

One of the things that led me to concert and music photography was the first major concert I photographed. It was Alice Cooper at the Auditorium Theater in Chicago. I was working with my high school newspaper and was assigned to photograph the show. I had a standing room only ticket. I moved to the front aisle by the stage. Security approached and told me I couldn’t stay there. I explained that I was there to photograph the concert. They insisted that I stand in the Orchestra “photo” Pit. I was very happy to comply. I got some wonderful photographs of the performance. I remember Dr. John, The Night Tripper was the opening act and I also managed to catch a drumstick from Alice Cooper’s drummer. I think from that moment I was hooked. Not only did I love the music and the opportunity to photograph with such great access, but the pictures and the results were something I’m proud of to this day. I have since produced photographs that have gotten much wider distribution than the Alice Cooper pictures. However, that is one of my first memories of being drawn into photographing live music.

“My concentration is largely in blues and jazz performances, in part to do what I can to keep the music alive, and to publicize it and spread the word through my photography. I hope to engage the viewer to the point where they want to hear the music live and participate in the blues and jazz communities.” (George Freeman & Alice Cooper / Photos © by Alan Frohlichstein)

What do you miss most nowadays from the music of the past? What's the balance in photo art between technique and soul?

These days, the larger venues often have a great many restrictions on photography. I don’t understand the purpose of limiting photography to the first three or six songs, especially since once the performers really get into their zone,I can capture my best work and the best images for them. Sometimes it’s fun to have the performers play to the cameras, as in the first three songs. It’s really when they’re not paying attention to the photographers and performing for the audience, and themselves, that I feel I capture the best images. Occasionally, when a performer not actually playing, but still on stage or in the wings may provides a beautiful opportunity for a portrait of them in a relaxed state, as theytoo watch the music happen.

Having to many gate keepers and the restricted access are probably the biggest obstacle to outstanding music photography. It’s also unfortunate that people frequently hold up cell phones and record, not only for a single song or set, but sometimes the entire performance. This becomes an obstacle course foravoiding them and their phones. I try not to get into their shots or block their view,but when someone stands there for 10 or 15 minutes, I find I must concentrate more on my photographic needs and access.

I try very hard not to be intrusive when I photograph a show, especially in the smaller venues or without a photo pit. The other day I was complimented by a member of the audience in a smaller theater. They thanked me for not being intrusive, as someone else with a camera had been and she appreciated that I was aware of the audience and not interfering with their experience or enjoyment of the show.

It’s hard to say what the balance is between artistic technique and the photographic soul. I feel the two must work together. Certainly, one must be technically competent when working under difficult lighting situations with a sometimes rapidly moving subject or group of subjects. You have to be aware of what’s going on around you, where the music is going, where the performers are taking things and anticipate what is developing around you.

“One of the things I’ve learned over the years is very much a carryover from my medical photography. You need to have the technical skill as second nature. You put your focus on the patient in the medical setting and the performers in the music setting.” (Chris Cain & Toronzo Cannon / Photos © by Alan Frohlichstein)

What music moment changed your life the most? Which photo shooting was the most important experiences (and difficult) for you? 

As far as what music moment changed my life, I suppose it was the Alice Cooper concert in the sense that I photographed it and had such wonderful access, so I enjoyed the moment, the music and the photographs. The most difficult and important experiences are an evolving process. Attending a new venue with which I may be unfamiliar provides its own challenges, even when I may know the performers. If I’m unfamiliar with a layout or lack of access because of the size or shape of the venue, I often arrive early. Sometimes I plan to attend the sound check to get a sense of where things are and how the lights, microphonesand any music stands are positioned. I look for good vantage points for myphotography without interfering with the audience or distracting the performers.

What is the impact of photo art and music on the socio-cultural implications? How do you want your images to affect people? 

My concentration is largely in blues and jazz performances, in part to do what I can to keep the music alive, and to publicize it and spread the word through my photography. I hope to engage the viewer to the point where they want to hear the music live and participate in the blues and jazz communities. I think the music itself has a great impact on our society, and the greater the exposure the better. When someone looks at my images, I not only want to engage them in seeing the music performed live, but I want the image to give them a sense of being there, of hearing the music. When someone says I saw your photograph and I could hear the music, I take that as a great compliment. 

Why is it important to we preserve and spread the jazz and blues? What does the blues and jazz mean to you? 

The importance of preserving jazz and blues music is because it’s such an essential part of our American history in our growth as a nation and in the arts. As art forms, they provide the basis of many other types of musical inspiration even extending to visual arts and in many cases, political and social commentary. Something that immediately comes to mind is Billy Branch’s recent song, “Begging for Change”.  Not only is it a well-crafted song, it speaks to current events.

“What I love most about the act of photography is the need to anticipate what is about to happen and visualize it to prepare to capture it as it happens. If you press the shutter when you see what you want, you’re probably too late. Working with musicians provides an animated atmosphere where I have to visually and aurally connect with the artist and follow their moves to get the shot that I want.” (Mary Lane with Billy Branch & Charlie Musselwhite / Photos © by Alan Frohlichstein)

What are some of the most important lessons you have learned from your experiences in the music photography path’s?

My path in music photography has been a little circuitous. I have a Bachelor of Fine Arts in Photography from Ohio University and a Bachelor of Science and Biomedical Photographic Communications from the Rochester Institute of Technology. I would say my first love would be pursuing photography as an art form. As a career, I worked in medical photography and as a Retinal Angiographer in Ophthalmology. Yet, I’ve always had a desire to photograph the world around me, which is what first drew me into photography. As things have evolved, I began doing more music related photography, shooting friends and musicians that I enjoyed hearing live. I feel like I’ve come full circle as photographing music or creating art through photography was where I started. While I do a fair amount of landscape and architectural photography, especially when traveling, it is the music photography that drives me in my daily pursuits.Being able to capture the emotion and energy of a performance, or a specific performer, pushes me to honing my skills as a photographer. I often photograph the same groups in different settings and, therefore, I become more attuned to the nuances of their performances.

One of the things I’ve learned over the years is very much a carryover from my medical photography. You need to have the technical skill as second nature. You put your focus on the patient in the medical setting and the performers in the music setting. The technical aspects and controls need to be second nature so as not to distract from capturing what is important. Much like driving, you don’t want look down at the steering wheel every time you want turn the car or look for the brake pedal when you want to stop. It needs to be second nature and part of your body workflow. I have learned, doing what you love brings its own energy and rewards.

Alan Frohlichstein - Home

((Willie Buck & Carl Weathersby / Photos © by Alan Frohlichstein)