Introducing “Behind the Lens”, Front of House Boston embarks on a journey into the world of music photography as we delve into the stories and experiences of talented photographers. In this series of interviews, we aim to uncover the passion, dedication, and unique perspectives that shape the captivating images connecting artists with their fans.
These series will feature intimate conversations with photographers who seamlessly navigate the realms of art and music. We explore their beginnings, their personal projects, and gain insight into the pivotal moments that define their artistic journeys.
Launching the series, Ruth Medjber joins Front of House Boston for a conversation, offering a glimpse into her journey as a music photographer. From her early ventures in photography to crafting a career in Ireland and currently touring internationally with the globally acclaimed artist Hozier, Ruth guides us through the highlights of her remarkable career. In this dialogue, she not only reveals her musical favorites but also candidly unveils the behind-the-scenes intricacies of her life on tour over the past year.
Hailing from Ireland, the photographer’s roots trace back to her home country. At the early age of three, she was already wielding a camera.
“I started taking photographs when I was like 3 years of age because my father used to sell camera equipment, you know, he was like a salesman for all the big stores…We were just working class, so instead of paying for childcare, he used to just bring me with him in the van. I’d be like constantly surrounded by cameras, and it was a cheap and accessible medium for me to get into, and it was fun, you know? I was really small, and he’d give me tiny little plastic cameras and tell me to go play, and I was fascinated with it. So I started taking pictures when I was about three or four. And it was something that I did through my whole childhood, you know? Just like kids would be playing with toys and stuff, I’d be playing with the camera.”
During her teenage years, Ruth found herself immersed in the world of music photography at the age of 14 while working for an Irish record label. It was during this formative time that she had her first interactions with seasoned professionals, providing a glimpse into the future career path she would come to embrace.
“We used to put on these gigs, and I saw a music photographer and a concert photographer at one of our shows, and I was like, wait a minute, I can put those two things that I love together. It was a real ‘Eureka’ moment when I realized that that was a job. I was like, okay, that’s the only job I ever wanted to do in my entire life.”
Reflecting on the early shows in her career, the photographer fondly recalls the moment she sensed she had crafted a truly compelling photograph. This recollection underscores the significance she places on the ongoing evolution of her craft.
“I remember the first photograph that I got and I went, ‘Oh my God, that’s amazing.’ It was a Muse show when I was about 16, and I was blown away by my own work, so proud of myself. There are a few shots that I still have because they are on film, you know, and I get them processed and I still have them. It’s a terrible photograph. It’s sort of like, you know, blurry and has light trails in it. But I thought it was like abstract as hell and real fine art.”
“I look back on pictures from four years ago, and I’m like, what the heck was I doing? And then, you know, I even look back on pictures at the start of the tour and at the end of the tour, and I’m like, why did I ever post that? That’s terrible. And I think everybody has to go through that process—your work would suck so hard if you didn’t evolve, and you still thought your work from 10 years ago was great. So definitely a lot of my work back then was terrible and questionable, but I love it.”
Building on her momentum, the photographer took the initiative to apply for press passes and started shooting her friends that are musicians. Ruth’s journey reached a turning point when she secured an honors degree in photography and transitioned to a role at Ireland’s national music magazine, Hot Press. This career move elevated what had initially been a passion hobby into a dynamic professional path.
Today, Ruth proudly stands as Hozier’s official tour photographer, having captured the essence of around 200 shows with the artist. The story unfolds when the singer’s manager, Caroline Downey, was on the lookout for a tour photographer. Ruth’s work spoke volumes, making it a no-brainer for her to become an integral part of the team. Beyond just photography, Ruth extends her skills to video production—a task she admits is not her favorite but one she reserves for the right talent. “I was hired for this job that was photo and video and I still to this day hate video, but I’ll do it for Caroline and for Hozier, they are brilliant,” she shares.
While the prospect of touring with one of the biggest artists is undeniably amazing, this undertaking is not for the faint-hearted. A typical day for the photographer extends far beyond the captivating moments of the show, wrapping up around 11 at night. It’s then that the real work kicks in, with editing and post-production stretching into the early hours of the morning, concluding around 4 am. A well-deserved break allows for some much-needed sleep until around 10 am, marking the beginning of a new day. The morning is dedicated to administrative tasks related to the job, and throughout the day, focus shifts to behind-the-scenes content or portraits for various radio or public appearances. As 4 pm rolls around, it’s time for sound check, signaling the start of the cycle all over again.
Within the whirlwind of this demanding schedule, the photographer sheds light on a special aspect that makes the touring gig truly unique—the fans. This enduring phenomenon, witnessed for years in the music industry, sees fans not only rallying behind the musicians but also championing the entire team responsible for crafting the overall experience.
“You know what? I could put up like 20 photographs of Hozier, all taken in the same second, and the fans would cherish each and every one of them like they were a different photograph. And you know, I love that about Hozier’s fans as well, that they’re so just dedicated to him, but also dedicated to the whole show. And they’re really generous with their support to me as well. And like, honestly, I could say I could put up an honest-to-God awful picture that no one in the right mind would ever say that was good, and they’ll found value on it.”
Despite Ruth’s exceptional contributions as a tour photographer, she reveals that she doesn’t fully resonate with the term. Highlighting the challenges that come with this demanding role, she expresses a desire for future opportunities that allow her to stay closer to her home in Ireland.
“I’m a tour photographer this year for sure, you know. But I don’t really class myself as the tour photographer; I have a portrait studio at home in Ireland. The majority of my work and my income is concert photography, but I really—I’m kind of allergic to the tour photographer term and I’m just like, that’s not me.”
“And, you know, I keep getting offered amazing stuff, but I don’t want to tour. Touring is hard, and it’s long, and you’re away from your home. I don’t want to be away from Ireland too much, I really love it here. And, you know, you’re away from your friends for an awful lot. It’s a very harsh lifestyle and to maintain relationships, it’s brilliant for a little while, but I don’t want to do it forever. So, I’m going to do the rest of this Hozier tour and then take a break … But, you know, I’m 37 now and I’ve been doing concerts for 21 years, so I’m like, yeah, maybe it’s time to.”
Wrapping up the final stretch of the tour with Hozier, the photographer remains steadfast in her commitment to convey a meaningful message through her art—an endeavor that resonates as the shared purpose of many music photographers.
“I think I find that because I’ve been shooting shows for so long, I kind of look beyond the person on stage, and I look for what they’re trying to communicate with their music and with the show. So, you’re taking in lots of elements; you’re taking in the song, the feeling of the song, the emotion that the musician is trying to convey. But then you’re also trying to take in the artistic interpretation of what the lighting designer has developed, you know.
And then we’re also, if there’s any screen content, building this whole visual narrative. You are trying to essentially represent the entire atmosphere of the show. And that one particular moment, of that one particular song, you’re trying to encapsulate that in one still frame.
So, my ideal scenario is, as if one of the barrier fans, who are the best people in the world, the ones that queue up all day, runs the barrier, and they are there through heaven and earth. They’re standing there, and I want them to go home in a flurry of emotion from after watching a Hozier show and look back at the Instagram post and go, ‘That’s it, that’s exactly how it felt to be there.’ So, it has to be what they felt in that moment. I’m not just a documentarian. I’m not just there to press a button and take a shot. I’m there to add to the overall aesthetic of the evening and to encapsulate it for people to take away.”
Taking a break doesn’t mark the end of concert photography for Ruth. She anticipates numerous musical adventures ahead. There’s one band, in particular, that holds a special allure—one she readily admits she couldn’t turn down. “There’s a band that, if they called me, I would go out. I’d drop everything and I would go out with them. If Radiohead called, I would be straight down the road,” she shares.
In a time brimming with exciting music production and live performances, the photographer shares her enduring enthusiasm for capturing moments. While she expresses a keen interest in shooting the bright and polished pop shows with their intricate production, she candidly reveals that her utmost joy lies in capturing the raw and energetic essence of punk shows.
“I love any band that gets down into the crowd essentially. You know, anyone that’s not afraid to kind of break boundaries and jump off and get close to fans.”
“I think if you stick a wide angle on any punk show and you get into the middle of it. And you know, your lens is covered in other people’s sweat, I think that makes for exceptional photographs. You need to be there. You need to, it’s supposed to be dirty and grimy. And that’s kind of when I’m at my happiest for sure.”
Ruth’s career and body of work stand as a testament to perseverance and a genuine passion for music. As our conversation neared its end, she offered valuable advice for anyone aspiring to enter the world of music photography or the broader music industry.
“You know what is the thing I always tell people who want to do what I do? And they’re always so amazed by this when they are just starting off, you really have to be shooting four or five shows a week. OK, you have to get your contacts and network, and we’re also doing it for experience. But also, you’re doing it so that people get to know who you are at the venues. You know, I can walk into most venues in Dublin or Ireland and just be like, “Hi, and can I have a pass?” and then give me a pass so they kind of know me because I’ve been there for 20 years, you know.
When I was working for a Hot Press magazine when I was 19, I was requesting to go to shows seven nights a week. Sometimes I’d try and hit two shows in the night, and you really have to be dedicated and self-motivated. There’s no one, yeah, unless you’re hired by a magazine or a publication, there’s no one that’s going to be telling you what shows to go to. You have to look at the listings yourself. You have to get your own tickets or get your own passes and go. No one’s going to hold your hand. No one’s going to open the door for you and invite you. And you have to go do it yourself.
And then, also, don’t feel bad if you’re not amazing as soon as you start. I was really, really bad for so long. Some people are naturally talented photographers, and they hold the camera, and it’s like instant sparks and incredible pictures. Some people are self-taught, and it takes a little longer. And it takes patience and practice, and that’s where I kind of was. I was like, it took me ages to get anything decent, so just try. Just, you know, if you’re still enjoying it, don’t worry too much about how the photos are coming out. Just enjoy being at the shows and actually taking the photographs. Later on, your style will develop, and you’ll get better, but like, don’t be too hard on yourself in the early days either. That’s probably all I can say to people is just keep going. Keep growing.”
In a testament to her continuous evolution, Ruth Medtber navigated the challenging landscape of the pandemic with resilience and creativity. During this period, she embarked on a meaningful project that resulted in the creation of the photo book ‘Twilight Together: Portraits of Ireland at Home.’ By capturing poignant moments through windows, Ruth extended a heartfelt invitation to viewers, offering glimpses into the intimate worlds of families and individuals during lockdown. The book’s rapid ascent to bestseller status not only underscores the photographer’s skill in narrating powerful stories through her lens but also reinforces the timeless truth that every image holds a compelling tale waiting to be explored.
Ruth Medjber’s illustrious career has not only bridged the essential connection between fans and artists but has also been a beacon of inspiration, opening doors for future creatives. Her impact extends far beyond the realm of music photography, reaching out to artists across disciplines while nurturing her own artistic journey. As a trailblazer in her field, Ruth has been at the forefront of shaping the narrative of contemporary photography, pushing boundaries and defying conventional norms.
You can check out Ruth Medjber’s work here!
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