The photographer capturing 70s bands before they were famous:
Were you commissioned to cover what was up-and-coming? Or were you scouting the emerging bands yourself?
I did it myself: I took the temperature of what was going on by reading the English press. My barometer was the news-in-brief in the magazines— or sometimes I went abroad — I got in touch with them and worked with them. There was very little room in the French press at the time to depict these types of acts. But the idea was to spot music trends, to act as a pioneer and precursor. Today we’d call that creating buzz. Being a photojournalist then was like being an influencer now.
After selecting the band, it’s a question of gaining their trust. First it’s an interpersonal encounter, then it’s about creating an image. It’s important not to have preconceived ideas. You need to spend time with the band — so they forget that you’re there. If you’re too present, you disturb them.
It was nice to walk around with subjects and have them discover the city, which they didn't know well, and do shoots in different spots. With, we took photos at night, underground; with Joy Division, we wandered around Les Halles, which was under construction at the time. It’s about mixing the world of the band with the city they’re visiting. I also photographed bands in New York, in London, in Berlin — or where they lived. The idea is always to work with what already exists around you.
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