All posts tagged footage

  • Brisbane Times story: ‘From dreadlocks to shaved for World’s Greatest Shave’, March 2012

    A story for Brisbane Times which was also filmed and edited into a two-minute video. Click the below image to view the video, and read the article text underneath.

    From dreadlocks to shaved

    Andrew McMillen has his dreadlocks shaved off for the Leukaemia Foundation's World's Greatest Shave
    Click to play video

    According to Scottish comedian Billy Connolly, “a primary-coloured beard is a perfect arsehole-detector”. I’ve long felt the same way about my dreadlocks, which I’ve had in place since September 2004.

    Connolly referred to the tendency of dreary folk – or “beige people”, as he would call them – to reveal themselves in the presence of someone whose unusual appearance upsets them. So too with my hairstyle, which elicits a range of responses – verbal or otherwise – when I meet people for the first time.

    At music festivals, I’m frequently assumed to be holding pot or other treats by both punters and police. When shopping, staff tend to drop their manner a few notches and engage with me in terms of “dude” and “man” far more often than “sir”. At election time, LNP and ALP hawkers don’t bother pressing fliers into my hands – it’s assumed that the Greens are the political party for me. In the street, charity peddlers smile and see me as an easy mark; someone naturally sympathetic to whichever planet-saving scheme they’re pushing.

    It’s endlessly fascinating to me how much people can read into a hairstyle. I’ve gotten far more enjoyment from observing how people react to me than from the dreadlocks themselves, which I chose purely for vanity: I liked how they looked on some of my favourite musicians, most notably the singer from Gold Coast hard rock act Sunk Loto, so I decided to try it on for myself.

    I’ve never regretted the decision, though seven and a half years of growth – coupled with the gradual thinning and breaking of the locks on top of my head – meant that it was always going to be a finite style.

    For years, my plan had been to support the Leukaemia Foundation and their World’s Greatest Shave initiative by turning a fairly drastic measure into a public spectacle. Handily, one that would encourage those around me to donate money and support a worthy cause.

    Since 1998, the annual shave has been undertaken by over one million Australians, who’ve raised over $120 million for the Foundation. Donations support families when they need it most, by providing leukaemia, lymphoma and myeloma patients – there are over 11,500 new cases across the country each year – with a free home-away-from-home near hospital during their treatment.

    The Foundation also funnels millions into blood cancer research. Although survival rates are improving, blood cancers remain the second biggest cause of cancer death in Australia.

    In light of these life-and-death scenarios that occur with troubling frequency – today, 31 Australians will be given the devastating news that they have one of the above three blood disorders – shaving my head to raise awareness and money for the cause always seemed a very pedestrian decision.

    I’m cancer-free and perfectly healthy – touch wood, I’ll remain that way forevermore – yet the concept of losing my ridiculous hair suddenly became an asset for leukaemia sufferers and their families to benefit from. Most of the people in my life at the moment have only ever known me with dreadlocks: I moved to Brisbane to study in 2006, after graduating from Bundaberg State High School the year before.

    I knew that going from full-head-of-hair to bare would spur the people around me to donate. I set my fundraising goal at $1,000. This seemed a reasonable amount. Thanks to the generosity of my friends and family, I reached this goal three weeks after starting the campaign. At the time of writing, the total climbs toward $1,500, which is astonishing to me.

    The shave itself took place earlier this week at a Price Attack salon in Indooroopilly. Leukaemia Foundation’s Beverley Mirolo was there to make the first cut, followed by a few of my friends. My girlfriend was particularly happy to shave off my sideburns, which had grown unruly after months of neglect. I watched in the mirror as a new me emerged. Suddenly, I looked vastly younger than my 24 years. Vastly different, too, though not as alien-like as I’d expected.

    I love how hair can become a social object; a topic of conversation, a reason to interact with another human. Those with dreadlocks know this better than most. It’d surprise you just how many people are curious enough to stop us in the street and ask to touch our hair. (Just as common: “is that your real hair?”)

    This is what I’ll miss most about my dreadlocks: looking slightly different from other folks, and watching them adjust their interactions to suit their idea of what my hairstyle represents. But for now, I’m embracing the baldness: tomorrow, I’m taking it a few millimetres further and getting my first ever ‘open blade’ shave, which will reduce my head hair down to nothingness. Wish me luck.

    Andrew McMillen is a Brisbane-based freelance journalist. You can follow him on Twitter at @NiteShok. You can donate to his World’s Greatest Shave fundraising here.

    Above photos taken by Scott Beveridge. More photos from the shave can be found by viewing the story on Brisbane Times here.

    My friend Mark Lobo took some before-and-after photos, too.

  • Junior ‘issues’ story: ‘Music Photography: First Three Songs, No Flash – And No Copyright’, July 2011

    A feature story for the ‘issues’ section of monthly street press Junior, July 2011. It’s an updated version of a feature that originally appeared on TheVine.com.au.

    Click the below image for a closer look, or read the article text underneath.

    Music photography: First three songs, no flash – and no copyright

    Earlier this year, Iron Maiden – the most recent headliners of the national Soundwave Festival – brought more than just a custom-built stage, hundreds of guitar solos and an enormous British flag. As Junior photographer Cameron Edney discovered on the day, they were also the only Soundwave performing artist to present a customised photography contract.

    “It was pretty tight,” Edney says. “Their contract stated that they wanted shooters [photographers] to send the best shots via mail to London for approval. Once the band’s management had looked over the shots put forward, they would contact us to let us know what shots we could use. They also wanted a minimum of 30 days to do this.”

    Such rights-grabbing statements are nothing new in the live entertainment business, where artists’ images and ‘trade secrets’ have always been fiercely protected. Eddie Van Halen was known to turn his back to the audience when performing innovative electric guitar solos before Van Halen were signed, so as to prevent both his newly-discovered techniques from being viewed by rival guitarists – as well as being captured by keen-eyed music photographers.

    Recent Australian tours by popular rock acts like The Smashing Pumpkins and Muse have demanded that photographers shoot only from the sound desk. Muse, too, issued a contract which states that photographers “hereby assign full title guarantee the entire worldwide right, title and interest in and to the Photographs, including the copyright therein”.

    Which means that if Muse – or, more likely, their management and/or lawyers – happen to be browsing your live photo portfolio and they’re particularly taken by a picture of bassist Christopher Wolstenholme in his fetching red suit, they can request the high resolution image file (or negative), and you have no power to negotiate because you’re bound by a contract.

    Why, then, in an age where the vast majority of gig-goers carry web-ready media devices in their pockets, are bands still so insistent on attempting to shield themselves from the close scrutiny of cameras? Recent news reports even suggest that Apple is developing software capable of disabling the iPhone camera whenever a punter tries to film a gig, via clever infrared sensors installed at venues. Though live footage and still images may fall under different arms of copyright law, one wonders: are such heavy-handed measures really necessary?

    British-born, Australia-based Tony Mott has been photographing musicians across the world for over 30 years. He’s been the Big Day Out’s official photographer since the festival’s 1992 inception; his work has appeared on the cover of just about every music and news-related publication imaginable. When it comes to photo contracts, though, his approach is blunt: “I don’t read them, and I never do.”

    Mott says he’s never had any legal trouble as a result of signing contracts in this effectively sight-unseen manner. “Not one single person has come back to me and told me that I’ve been doing the wrong thing. I sell [photos] to music magazines. That’s it. That’s all anyone’s doing with them. I mean, if you started making posters and merchandise [with your photos of the artist], I think you would get into trouble.”

    According to Matt Palmer, a Brisbane-based photographer, “You get treated like a bit of a bastard with these contracts. The reality is, you’re there as a fan, and as a photographer, you’re trying to take the best photos you can of a band. So it’s a bit weak to be presented with these contracts when you’re actually trying to help them out.”

    Sydney-based photographer Daniel Boud notes that two bands that don’t treat photographers like bastards, however, are also two of the biggest in the world: AC/DC and U2. Both acts toured Australia last year.

    “It says a lot that, for two of the bands whose fans are so rabid that you might actually be able to sell the photos for commercial gain, neither act even bothers with having photos contracts,” says Boud. “They’re also two artists that, when you shoot them, their tour managers and publicists are incredibly nice and welcoming to photographers. They thanked us for coming. Whereas a lot of the time, concert promoters make you feel like you’re a pain in the arse to them.”

    It’s a tough line to tread, between respecting the rights of the artist and satisfying both professional photographers and the average punter holding their iPhone aloft. Though their hardware varies, they both want to capture the moment for posterity.

    Junior’s Cameron Edney admits that such contracts “can be a joke; the demands can be laughable, but for the most part, it’s expected. It’s part of the job, and if you get into this side of the business and want to shoot live music, you have to be prepared to sign release forms. If you don’t, you may lose out on shooting bands you really want to cover. Just like any job, music photography has its own disadvantages.”

    Andrew McMillen (andrewmcmillen.com/) is a Brisbane-based freelance journalist and Junior writer. This piece originally appeared on TheVine.com.au; we asked him to update it for Junior. This is his second story for our ‘issues’ series; his first was on ticket scalping. Read the whole series at junioronline.com.au

  • The Vine story: ‘First Three Songs, No Flash – And No Copyright’, March 2011

    A feature article for The Vine. Excerpt below.

    First Three Songs, No Flash – And No Copyright

    Andrew McMillen inspects the contracts and copyright law related to recent Australian tours by Big Day Out artists Tool and Rammstein.

    (Main pic: Slash vs Photographers at Soundwave, Adelade 2011 by Andrew Stace)

    As the 2011 Big Day Out tour wound itself across the country this year – it ended in Perth on Sunday, Feb 6 – hundreds of professional photographers snapped portraits of an artist line-up that included Californian hard rock act Tool and German industrial metal troupe Rammstein.

    These two bands were the heaviest-hitting acts on the tour. Yet their photo release forms also revealed that they were the bands most protective of their image. “All copyrights and other intellectual property rights shall be entirely Artist’s property,” read a line from Tool’s contract, which photographers wishing to capture the band from the front-of-stage photo pit were required to sign. “[The photographer] is prohibited from placing the photos in the so-called online media, and/or distributing them using these media,” stated Rammstein’s decidedly archaic contract, which concludes with an apparently self-defeating line about being subject to the laws of Germany.

    Such rights-grabbing statements are nothing new in the live entertainment business, where artists’ images and ‘trade secrets’ have always been fiercely protected. Eddie Van Halen was known to turn his back to the audience when performing innovative electric guitar solos before Van Halen were signed, so as to prevent both his newly-discovered techniques from being viewed by rival guitarists – or being captured by keen-eyed music photographers.

    Recent Australian tours by popular rock acts like The Smashing Pumpkins and Muse have demanded that photographers shoot only from the sound desk; Muse, too, issued a contract which states that photographers “hereby assign full title guarantee the entire worldwide right, title and interest in and to the Photographs, including the copyright therein”. Which means that if Muse (or, more likely, their management or lawyers) happen to be browsing your live photo portfolio and they’re particularly taken by a picture of bassist Christopher Wolstenholme’s fetching red suit, they can request the high resolution image file – or negative – free of charge. You have no power to negotiate because you’re bound by a contract.

    Why, then, in an age where the vast majority of gig-goers carry web-ready media devices in their pockets, are bands still so insistent on attempting to shield themselves from the close scrutiny of professional cameras? And are these contracts even legally binding, or simply attempts to scare newbie photographers into surrendering their hard work – with zero additional compensation on top of their publication’s one-time print fees?

    For the full article, visit The Vine.