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Amber Glenn clears up a music controversy during the Winter Olympics, resolving a dispute with artist Seb McKinnon.

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Think Like A Key 2025 Transatlantic troubadour of urban toils and troubles ventures down memory lane or two to map his microcosm. Edward Rogers has never been afraid to seem parochial on his albums – the British-born New Yorker referred … Continue reading →

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Corrie Anconé is a photographer who has worked extensively in the fields of theatre, film and entertainment since the mid-70s. Rock audiences are perhaps more familiar with her through her work as a music photographer. Corrie’s shots have adorned magazine and album covers, gig posters and the pages of rock publications for decades. In recent years Corrie has been going through her archives and collecting her work in a series of hardback volumes. I Shot the Music is the second of these, a retrospective of her freelance music career going back to 1979. Late last year we interviewed Corrie about her work, especially this book, and delved into her origins as a rock photographer and the challenges she may have faced with the transition to digital and of professional photography as a dying art.

You start with your most recent work, which I thought was unusual because a lot of books from artists tend to begin with early stuff and have the more recent work towards the end. What was the decision about going backwards like that?

I don’t see it as going backwards. I just see it as Now and Before. I thought I should start with where I am now, and then … I did the same thing with my art book, where I started with my recent work and then went all the way back to the 70s. It wasn’t really a decision or particular thought behind it except for now, and the past! 

What was it that attracted you to photography as an artform, and, secondly, what then attracted you to the world of rock music photography?

I was at art school doing a fine arts painting course and we were allowed to pick some other subjects. I picked photography and sculpture, and I fell in love with photography. That’s what happened. When I finished my course in fine arts painting, I went to photography. It was like a faster medium for my art especially. So that’s what happened there. As for music, well, I’ve always been a performer myself, so… Before [daughter] Morgana was on stage, I was actually on stage. Also from a pretty young age, probably 16, it’s been my love. Music’s been my love. I play it most days, all day. I will go to as many concerts as you can think of, and shoot, because I love to shoot. Then when I moved here, when I retired and moved south, I had it in the back of my head to do books before, but then I thought I’m getting old now and I won’t be out shooting forever. So that’s what I decided to do, to get it out there in hard copy. Or it’s just going to disappear into the abyss, isn’t it?

I keep getting emails from people asking for things I shot and if they can have them. That’s happening a lot more at the moment so I have to dip into the archives and I just let them go.

It’s wonderful that people are contacting you for your art, because from having followed your art since the 90s it’s a living document of Australian music. You were one of those people who were there to capture it, and obviously others who were there are now discovering or remembering that you have photos of the time. Have you ever been contacted by anyone who didn’t know you had photographed them?

No… no I’d have to say no to that. They’d always have to know I was there, because what happens when you’re a photographer is that people notice you. You’re at the front, and then they’d seen your posts – later – on Facebook. But Facebook wasn’t available way back there, I’d get a call saying, “Oh you were there Friday night, can we look at the proof sheets?” It was all very different. Now it’s all social media. It’s faster. It’s easier. That’s the beauty of technology.

What did you have to do to get in there and first start taking photos at gigs?

What did I do? I just belonged! I’d go to gigs because someone I knew was playing, or it was someone famous and I had a ticket. I’d sneak the camera in if it wasn’t allowed, but mostly I’d just walk in with it. Back in the old days it didn’t matter. You can’t now. Some places, yes, of course, but it’s usually by invitation or somebody wants you to be there. The Enmore Theatre, I can still walk in there and not get hassled. I don’t know if it’s because they know me or whether they just don’t care. The Metro in the city, for example, you need a pass. It’s a mixed bag, really, but for me, being a photographer and being in a band, I’d give my camera to somebody else to photograph me! Then I’d get the camera back and photograph the rest of the bands that night. Really, I was attracted to the music. That was the big thing. I can’t stand there and not shoot! A few times when I didn’t have my camera I was sick, I was so upset! 

Most photographers seem to have very positive experiences because most of the artists want to be captured like that and they can’t really do it themselves.

They absolutely love it! They love it. On the internet now, there’s so much of my photographs out there. I put them on Facebook and people ask if they can use them, and I say ‘Sure’. I’m not precious about ownership or anything. I keep the copyright. That’s enough, thanks. 

Now that’s something that I know some people can be precious about. I haven’t had too much trouble with it, but I’ve also tried to be very careful with the stuff I’ve used. If someone’s just using it to add to an article or something is quite different to someone trying to monetize it, and it’s a lot easier now with the internet. But you seem to be fine with people using your photos.

I ask for people to put my name on them, but it doesn’t happen! At this point in my life, seriously… If I was a lot younger, it might be different, but I’ve had plenty of recognition. I don’t need, “Picture by:” It’s nice if it’s there, and it still happens.

Were there any bands that you particularly liked working with?

I never had any major issues with anybody. I actually enjoyed almost everybody I shot – in studios, as well. Because they were different from the last lot, and I tried to make my thing out of what they were giving me. I don’t think I have any favouritism at all. I mean, I loved Nitocris, of course, because that was my daughter, but that’s a different thing. That’s very personal. 

There must have been an enormous sense of pride that Gana was doing that.

Yes! Because she was meant to go to university in Queensland! That was what was happening. She went to art school – didn’t like it. Then she got into drama up north, and I went, ‘Sure, great!’ Then suddenly she comes home and says, ‘Mum, I’ve answered this ad in Drum Media for a singer in an all-girls band, and I got the job.’ I had to make a decision: does she go to school, or does she join the rock band? Join the rock band!

I can’t see any regrets there.

Absolutely not!

She’s made an amazing career out of that.

Do what you love! I learned that from my father, and I passed that through. Never mind the drama school, go do what you love.

You’ve obviously followed that path yourself. It sounds like it wasn’t difficult for you to start doing it.

I was already freelancing in lots of areas. Film, theatre, portraiture – weddings, even. That was my life. My life was all photography. I had a dark room – which I loved, by the way: the smell, the isolation. It was fabulous.

You’ve gone from the dark room to digital now, obviously. What was it like, making those changes?

Well, I had no choice. There I am, on this job, and this PR lady comes into my face and says, “Tomorrow…” I said, “Tomorrow? They have to be processed and put on a CD for you.” “How long is that going to take?” “Two or three days.” “Oh that’s just too long. I’ll never hire you again.” Suddenly I had the pressure that I had to perform within 24 hours. You get to go home, check, edit, send. I had to get a computer! I had to get digital cameras! I had to change my whole life overnight.

I feel completely blessed that I did both analog and digital. It’s a completely different world. 

It’s like a completely different art now.

It is. It’s not a career anymore. I wouldn’t want to be getting into photography now, as a young person. As a job it doesn’t exist anymore, other than weddings and some commercial stuff. Most companies will take something on a mobile and then give it to Joe Blow at the desk because he knows how to fix it. That’s how it’s done now.

A lot of creative arts are the same. Writing for one, and music is heading that way too. 

Film and theatre still have photographers, but there’s too many of us and not enough work.

It’s obviously been very rewarding and enriching for you.

Absolutely. I had other incomes. I just worked for eleven years in mental health. But do what you love. Did you know I’m working on book four now?

I did not know that. What is the focus of this one?

Mardi Gras. All the years I’ve shot Mardi Gras. It’s very colourful and lots of sparkle. That’s the next one. I’ll keep doing it until I drop. It’s keeping me alive! I’m not a spring chicken anymore. I came here every day and I do a couple of hours, if not more, and then I have a breather and then I’ll do some more. My archives are in there. I’ve got a room with five filing cabinets of celluloid, cupboards full of CDs, and then there’s all the files on the computer! I keep worrying about what will happen to it all when I die, but Gana tells me, “Don’t worry mum. I’ll look after it all for you!”

Corrie’s next hardback release is With Grace, Glitz and Glam,a two-volume celebration of the Sydney Gay and Lesbian Mardi Gras. You can purchase her work from belleartpicturebooks.bigcartel.com.

Brian Giffin