Ship In The Sand

music, fandom and photography

The Sadies


image © 2010 Aline Giordano

text © 2011 Aline Giordano

Most zinesters would rally behind Jeff Rian’s ideas (1999) that artist photographers are interested in the ‘fringes’, those places ‘at the edge of history’. While Rian made this comment about fashion photography it can be easily extrapolated to concert photography. Popular music suffers its waves of fashionable artists in a saturated market where record companies call upon marketing and PR to position and promote their artists, using an armory of marketing techniques, highly stylized photography being one of them. Chris Christodoulou, who is the official photographer at London’s Royal Albert Hall, stresses in the British Journal of Photography (2000) how important it is that PR companies have ‘confidence in you’ if you want paid assignments. To me PR companies represent ‘authority’ and I do not want to know them. I usually bypass marketing and PR companies and deal straight with artists or, failing that, their tour or band manager. To me, the fringes are represented by bands who promote themselves, bands who have strong aesthetical and genuine ethical principles whether they are social or commercial. While we all know that behind any style of media, however, there is always an element of promotion, as a zinester, I stand for ‘promotion’ of the fringes from the fringes. This is my way of promoting bands. The result of being drawn towards the fringes and photographing them is what Rian calls ‘half-lit realism’ which is illustrated by my photograph of Travis Good from Canadian band The Sadies. It’s dark but then it’s rarely shiny and cosy at the fringes.


Rian, J. (1999), ‘Parania Soft: A Polymorphous World Personal’. Flash Art, 32 (209), 88-91.

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