Van Coke Kartel and Fokofpolisiekar, Clapham Grand

This was my first attempt at shooting a gig with film. I haven't replaced my lost camera yet, but I was also quite keen for a new challenge. Last time I used a film camera (waaaaaaaaaaaaay back in 2007!), I didn't have a clue what I was doing. But digital cameras (and the Internet) have made learning relatively easy, because you can instantly see the results, and mistakes don't cost anything.
However, I've always felt I wouldn’t be able to call myself a photographer until I can take decent photos with a film camera. Mainly because you can fake your way through an assignment with a digital camera, or at least see what you're doing wrong and correcting it instantly, but not with film.
I Googled the venue beforehand to see what the photo pit situation was like (non-existent, if you're wondering!), and I only found one photographer’s blog with gig photos. At some point during this gig, I turned around, only to see that photographer standing right behind me. Not the biggest coincidence in the world, of course, but still funny. He reckons it's the worst venue he's had to work in. So I was feeling very confident indeed.
I was shooting with a 50mm prime lens, with everything on manual. In the end, the photos I like most (read: the only ones worth keeping) were all lucky shots. I can't say I did anything intentionally, apart from the first one – and the guitarist was kind enough not to move around too much.
As for the band: I saw Van Coke Kartel three times in the past month, and Fokofpolisiekar for the first time ever. Although I wouldn't really listen to their music at home (I was, in fact, introduced to their music by an English friend), I believe they're the best (live) band South Africa's ever produced. And I really regret not seeing them when they first started out.
Listen to: Brand Suid-Afrika and Voor Ons Stof Word.

Freya Klara

A few weeks ago, I hired a Nikon D300s and the 35mm 1.4G lens for the weekend (to do a baby shoot which I had booked a few days before I lost all my stuff). Afterwards I met up with some friends in Spitalfields market, and I just had to try it out on their brand new baby. She looks impressed, no?



The nice thing about hiring gear is that you can try out different bodies and lenses before choosing one. I'll have to buy a new camera, of course - it's not so much fun getting to know a new camera a few hours before a job - but hiring lenses instead of buying them is, for the time being, a no-brainer.

I always use Fixation. Whenever I try to book a lens which is not available (in this case, the D7000), they give me a better one for the same price. You won't ever hear me complaining about that kind of service.

The best camera is the one that's with you

Since I lost all my gear on the tube (don't ask!), my iPhone is the only camera I always carry with me. Fortunately, I happen to be addicted to it. And it's quite nice to travel light for a change.



Still. I want my stuff back! *Sniff*

Anton Hammerl

Anton Hammerl must have been the nicest press photographer out there. I saw him a few times in the last couple of years, as we occasionally covered the same events for the South African press. You couldn't miss him, really. He looked like he should be sitting around cafés in Paris, talking about art. During our very first encounter, and probably my first time covering a news event, I stood in front of him, waiting for some protest march to walk by. Usually, when things get a bit tense, press photographers wouldn't think twice before walking all over you to get their shot. But that day, with the simplest gesture and without saying a word, Anton got me to make room for him, managed to get his shot, and basically taught me everything worth knowing about press photography etiquette.
It's absolutely tragic that he died in such gruesome circumstances. But I believe he was out there doing what he loved to do. Doing safe and boring corporate shoots in London, grinding his teeth and wishing he'd made different choices, might have killed him too eventually.