Loren Wohl, a New York based photographer is making quite a name for himself across the pond. With an enigmatic ability to capture crisp, clear imagery, one feels they could reach out and touch his subjects through his lens. Specialising in concert photography and portraiture, he is fast becoming one to watch.
He has toured with Skrillex, Dillon Francis, and Flosstradamus, and his work has been published in Billboard, Rolling Stone, SPIN and Time Out New York to name a few.
His work has also been featured in Complex, Elite Daily, and he has been interviewed by The Wall Street Journal and The Strobist for his forward-thinking approach to photography.
As fame beckons, this down to earth maverick indulges us with some cunning tricks he has learnt along the way.
I was an intern for Fool’s Gold Records and took this during their 2010 CMJ showcase where Kanye was a secret guest. I like this photo for being selfexplanatory. It’s no secret that Kanye has a large personality, and I think this shows that. I find it fascinating that photography can present things for what they are and for what they aren’t. Capturing the same moment from a different angle could communicate something entirely different. Brooklyn Bowl / October 23rd, 2010.
This photo serves as a reminder that you have to break the rules in order to get ahead. Katy Perry’s publicist asked that photographers shoot from the soundboard, at the opposite side of the room. This is very common when photographing big artists in large venues. At the time my longest lens was a 50mm. That didn’t give me much reach, so I had to sneak up front with the tweens and their moms. It was worth it for the shot. This was taken at NYC’s now closed Roseland Ballroom. Roseland Ballroom / November 8th, 2010.
Looking back on this image, I can see myself developing an attraction to back/sidelit imagery that I feel defines my style today. For me, a photo is comprised of what is and isn’t visible. The sense of ambiguity makes musicians look larger than life. Roseland Ballroom / April 22nd, 2011.
Sometimes access plays a key factor in the images you’re able to create. As the staff photographer for MoMA PS1, I was able to shoot from behind the stage to put the brick in the background. Music photographers are often restricted to shooting from the photo pit in front of the stage. Altering your perspective will lead to taking images you wouldn’t normally capture. It’s important to constantly put yourself in situations where you feel uncomfortable to improve your craft. MoMA PS1 / August 25th, 2012.
This photo is why I’m so drawn to photographing musicians. Capturing images like this requires luck and timing. It’s the perfect storm of edgy lighting, an unforgiving guitar solo from Kevin Parker, and a lens flare to further polish the image. Terminal 5 / February 19th, 2013.