Deanie Chen is a New York City-based music and fashion photographer who left a career in law to pursue photography full-time. From cold-emailing bands to touring with top artists, she shares insights on breaking into concert photography, developing a signature style, and building industry connections. Whether you're an aspiring music photographer or a fan of live music visuals, this interview dives into the art and hustle behind capturing unforgettable moments on and off the stage.
Hope you enjoy!
Tell us a bit about yourself and how you got started with concert photography
I’m a New York City photographer specializing in music photography—whether it be album art, press, or live coverage. As to how I started, I was going to university in LA, studying economics and feeling horribly uninspired, so I decided to make use of being in a city at the heart of the industry and took my camera to shows. I never thought photography would be a job for me— it was truly just a creative outlet for myself as a music fan.
What was the first show you photographed? How did you get that opportunity?
The first show I photographed that wasn’t just bringing my camera to a show was X Ambassadors in Kansas City in 2017. I had just returned home for winter break after my sophomore year of college, and I was just cold-emailing bands that would be playing shows while I was home. I cold emailed the manager of X Ambassadors at the time, and for some reason they gave me a pass. I will forever be grateful for that moment of kindness.
What was it like leaving your job in law to pursue photography full-time?
It was extremely scary for me, and not a decision I took lightly. I am the only child of two Chinese immigrants—my parents survived the Chinese cultural revolution to move to Kansas, where in order to make ends meet, they worked as janitors and housekeepers and rented and lived in an attic. Their struggles and experiences, though not mine, are deeply ingrained in my identity and modus operandi.
They have always taught me that a good career and financial stability are primary factors for the level of respect society gives you. Thus for the majority of my adult life, I juggled my growing passion for photography and what I felt was the “correct decision” to continue toward becoming a lawyer. However, as I began progressing in both fields, it became increasingly clear that I had finally reached the crossroads of picking one or the other in order to have a sustainable life. I was barely sleeping, juggling both photo deadlines and the rigorous law firm life as an attorney.
And eventually I had lined up enough back-to-back touring opportunities, that it felt like if I were to take a leap of faith and quit, this was the most calculated risk I could take.
The biggest factor in the end was, regardless of if I am an attorney or photographer in 10 years, I want to look back without the “what if” and without the regret of not taking the risk and finding out what I could do with photography.
There are definitely differences now that photography is now my primary focus. I feel like I have so much more bandwidth to explore and grow as an artist instead of maintaining the status quo when I was also working 60-80 hours a week or in law school. But it also is scary to be freelance, as reality will affect your relationship with art, when the art is the means for paying rent, buying groceries, etc.
In addition to your incredible concert photography, you also have an extensive fashion portfolio. How do you balance these two genres of photography? Do you find one influences the other?
I shot fashion when I first started photography and it is still a genre I love and deeply appreciate. In comparison to live photography, where you have no control over external factors (lighting, costume, energy, poses), in fashion photography you have much more control. At the beginning of my career, I would style and occasionally do makeup on my models, in addition to picking the location and lighting. Both types of photography flex different parts of the creative brain, and I think exposure to both has given me a unique perspective in both scenarios.
Speaking of fashion, you’ve created some beautiful portraits of artists like Camila Cabello. How do you build trust with your subjects for these shoots?
The photos with Camila Cabello were shot in the backstage area of the Knockdown Center in NYC. I had no control of timing or location, but for situations like this, I try to arrive early to location scout and get a feel for the location. In these situations, communication with the team and the subject is so important.
Showing the artist the photos as you go can help build rapport, and Camila was so great to work with as she had a bunch of ideas to try as well. It always just depends on each individual artist’s personality, and I always try to mirror or adjust my energy during the shoot as well.
You’ve covered events like Dick Clark’s New Year’s Eve party and toured with Lizzy McAlpine, Lawrence, and others—achievements many photographers dream of. Could you share how you arrived at those opportunities?
Word of mouth! Most of my opportunities have come from recommendations from other photographers or people I have worked with in the past. The industry is much smaller than you would think. Being kind and professional can go a long way – especially for touring opportunities.
Even if you are the most talented photographer in the world, if your energy doesn’t mesh well with the artist/band/crew, you won’t get the gig.
Touring is 90% hanging out and waiting, so if you aren’t a person people want to be around, talent can’t outweigh that. You’ll find as your client list slowly grows, more opportunities will come in, as more people will be able to attest to your work and person.
Your shooting and editing style is wonderfully recognizable with rich colors, deep contrast, and creative uses of motion. How did you develop this style and is it still evolving?
My style is constantly evolving. I never formally learned photography, so my style is always just what evokes something in me and feels right.
Where do you find inspiration? This could be other photographers, musicians, books, or something totally different.
I try to find inspiration from as wide of a variety of sources as possible. It can be easy to be sucked into an echo chamber of what is popular on social media now, so I try to limit my time scrolling. I love movies and vintage fashion magazines for visual inspiration.
However, I think one of my greatest tips for feeling inspired is finding a creative interest that has some distance from your primary craft. If I consume too much visual media, I find myself feeling overwhelmed and bogged down by technicalities or my own shortcomings as an artist.
I spend a lot of my free time reading, as I have found that it is the best way for me to ground myself and allow myself to daydream without a visual reference. Reading a good book has always served as my creative reset.
What advice would you share with people just getting started with concert photography?
Don’t follow rapidly changing trends, really develop your own style and follow your gut.
On the other hand, remember that artists are also people who want to look flattering in images. When photographing for an artist, remember that they are the client and you want to make them feel good. Sometimes it is putting aside your ego on a photo you think is good and understanding that the client doesn’t like it. We are in the end, here to provide a service.
What camera gear is always in your bag?
My Sony A7RIV is my primary body and I usually shoot on a combo of the Sigma 14-24 f 2.8 and Tamron 28-75 f 2.8.
Do you have any projects, recently completed or upcoming, that you’re particularly excited about?
I am headed out with Mumford and Sons in a couple of weeks for their North America tour dates!
Where can people see more of your work?
I am @deaniechen across all platforms. My website is www.deaniechen.com
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