Irene Young – True to the Heart and Soul of the Musician
By Sue Barrett
Over the past 25 years, Young’s clients have included Loudon Wainwright III, Lucy Kaplansky, Alasdair Frazier, Hazel Dickens, Michael Hedges, Cathy Fink & Marcy Marxer, Tret Fure, Jody Stecher & Kate Brislin, Grace Griffith, John McCutcheon, Anne Hills, Tom Paxton, Barbara Higbie, Pete Seeger, Brownie McGee, Patty Larkin, Michael Smith, Deidre McCalla, Christine Lavin, Laurie Lewis, George Thorogood, Shawn Colvin, Priscilla Herdman, Judy Collins, Heather Bishop, Laura Nyro, Mary Black, Seldom Scene, Jane Gillman, New Kids on the Block, The Roches, Suzanne Vega, David Grisman, Cris Williamson and XTC.
According to Irene Young, “A photographer must know the purpose of the photos, the vision of the artist, and how comfortable or uncomfortable the person feels about the process. Today’s photographers are expected to be magicians and alchemists more than ever before. And if you are one who tries to stay in alignment with truth and beauty, you have to walk a thin line to be successful commercially.
“The music business is a combination of heart, soul, and fantasy. In the independent music business, it seems to be more heart and soul. But even that is changing. It’s fun…as long as people don’t get carried away thinking they are superior to their audience. People tend to idolize musicians in our culture. Ancient Greece had Gods and Goddesses…we have celebrities. They went to Delphi….we go to concerts and the movies. I’m sure it’s quite a challenge for people in the public eye to stay humble.
“The photograph on the front of a CD can express the general mood of the music, and a bit of the personalities of the musicians. And at times, it can be a topical commentary supporting the view of the recording artist. But the main objective is to inspire the buyer to want to hear what’s inside, and to be true to the heart and soul of the musician.
“I’ve got three main tips for performers.
“Select a photographer who photographs people in the arts. The photographer should know the inner ‘goings on’ of the artist, plus the outer expectations of the market. It’s a balancing act between insecurity and confidence, art and money.
“Hire the photographer’s stylist! You are presenting yourself to the public market. Spend the extra money…it’s worth it.
“And when preparing for a photo shoot…don’t over-think it. Let yourself be ‘present’ at the shoot rather than in your head worrying about everything you should be projecting.”
Irene Young was born in Gary, Indiana, but only spent one year there.
“I mostly identify with the south as my home of origin. I grew up in a small Greek community called Tarpon Springs, Florida (known for miracles and sponges), then graduated high school in Atlanta, Georgia, where my Greek family still resides. The origin of my last name is Yoannides.”
It was chance more than anything else that led Young into a career as a photographer.
“I was the editor of my high school yearbook, then editor of my college newspaper (where Newt Gingrich was my teacher!). In both jobs I found myself taking pictures fairly often. In addition, I hired a talented photographer for the paper who later became my unconventional husband. I loved photographing kids in the neighborhood, but he would always develop the film, saying it was just easier for him to do it than to teach me.
“We split after five years, and Janis Ian convinced me to head to New York City. How I met Janis Ian when I wasn’t even in the music business yet is still a mystery to me, but when I look back on my life I just seemed to have a knack for marginally knowing people in the public eye. For example, Joan Baez funded the grass roots organization I began in college, and David Harris [who was married to Baez] stayed with us a couple of times. I think this was unusual for a little school such as West Georgia College in Carrollton, Georgia.
“When I arrived in The Big Apple I didn’t know if I would become a musician or a photographer. Thanks to my late recording engineer friend Debbie Rosenfeld who took me to a Roches show, I got to photograph a majority of [Greenwich] village musicians (Shawn Colvin, Suzanne Vega, Loudon Wainwright III, etc.) from my duplex on Bleecker Street.
“I guess my brain thinks in pictures. I envy people whose brain works in more complicated ways. I just seem to be in constant creation…You could just say I am an idea person. I am not, however, a photographer who carries their camera with them everywhere, and most of my clients do not carry their guitars everywhere with them! Sometimes I wish I could do that, but I don’t have it in me to be intrusive.”
Although Young is best known for her photographs of musicians, her work extends beyond the music industry and beyond still photography.
“Most of my work is in the music business and I love photographing musicians. I just worked with Ireland’s Mary Black, and what a gem of a person she is! The experience will remain in my memory alongside other special sessions like the one with Laura Nyro.
“But I love photographing all kinds of people and enjoy having the versatility of shooting for the corporate world, for families, even fashion catalogues. I feel blessed that I can see the beauty in everyone, and my aspirations are not limited to working only with celebrities. One of my favorite recent jobs was photographing a family before the mom had to go into chemotherapy. They were a wonderful family, and I was glad that I could give them something so meaningful.
“In addition to photographing people, I have just completed a project I call ‘Dogs In Convertibles’. This project seems to have a life of its own with hot dog and cool car owners calling or emailing me daily!
“And as well as still photography, my video partner, Jane Lurie, and I, produced The Art of Accompanying Flamenco Dance with Juan Serrano for Mel Bay Publications. I have produced about five videos, but my dream is to make videos for children with special needs.”
For Young, taking photos is much more than just pointing and clicking.
“A portrait photographer is at a loss if he or she does not have the ability to listen and care about other people. You can be a photographer with good technique and a creative mind, but to photograph people it pays to be a bit genuinely charming.
“It is completely necessary for me to have as much information as possible before a photo session. If I am shooting a CD cover, I study a tape of the songs, and I read promo material about the person I am going to be photographing. I am fortunate in that I have a wide appreciation for music. I think it would not be good for the client if the photographer was overly judgmental about their music. I respect everyone’s right to follow their dream, and I believe the act of being creative is a high spiritual act regardless of the outcome. Of course, I mean creativity with an authentic and benevolent intent.
“Keeping the client’s emotional needs in mind also plays a fairly big role in creating great photos. I usually ask, ‘How do you feel about being photographed?’. If necessary, I will openly confirm the awkwardness of the entire event, and that it has nothing to do with singing great, or writing an awesome song. It’s just part of our very visual culture. Talking about it seems to break the spell of discomfort. And because I literally watch every muscle in a person’s face, I have even been known to ask jokingly if they would like to scrutinize my face. So, if someone hates to be photographed, it is crucial to address it. Otherwise, it will show in the finished work.
“The dialogue is usually between the client, my stylist, my assistant, and me. And we never do anything the client opposes. That just doesn’t work. The bottom line is…the buck stops here. There may be a dialogue, but it is my responsibility to make sure my client feels great about the entire process. I am fortunate to have a wonderful stylist, Paula Schwartz, who grasps the art of listening. We WANT to know who our clients are as artists, and as people.
“My preferred prep would include having my assistant Nancy Lee Russell set up 1-2 hours before the shoot. When the person arrives we are ready to be there totally for that person. Paula warms up the person while she prepares their hair and make-up and gets their consent. We all discuss the clothing they bring. The client’s favorite music is playing. My crew has already listened to the client’s music. We’ve decided what techniques we will use. We have refreshments so no one’s energy declines. And I think about the spirit of the person I am photographing.
“I will also say, however, that sometimes I do enjoy being alone with the person I am photographing. I recently photographed Cris Williamson on location in the Marin Headlands. The intimate company was a pleasure, the view was spectacular, and the results were great. This kind of session works well for Cris, while someone else might need the energy and skill my whole crew offers.
“Also…sometimes if an artist is an instrumentalist…we may take a photo that tells a story but does not include the actual person. Then, they usually put a photo of themselves on the back or inside the booklet. Anne Robinson, co-founder of Windham Hill Records and Candace Upman, art director mastered the art of this kind of cover.”
Young uses a range of photographic equipment, depending on the session.
“My standard 35mm system is Nikon, and I have had just about every medium format camera. However, if Mamiya or Pentax wants to give me their new auto focus 645, I’ll be happy to endorse their line.”
Photographers, says Irene Young, tend to create photos in two ways.
“They are either made (meaning every detail deliberate), or they are given (meaning the photographer is prepared to receive what the artist offers as a sort of photographic gift). Some of the best shots are gifts.
“A great photo can be had by all. A person does not have to fit into the physical package created by advertising companies. A great photo expresses spirit! A great photo expresses the beauty of the person being photographed, not the beauty of anyone else. And we all possess our own beauty. When we get to see our spirit in a photograph it can actually inspire self-esteem and self-love. Age has no bearing on a successful portrait, nor does gender. The biggest part of the equation is the amount of judgment the photographer has towards all people. If the photographer can see the beauty in everyone, the person being photographed is in good hands…or heart as it may be stated.
“The client gets most everything we shoot…with the exception of shots with shut eyes. I mark the ones I think are the best, usually averaging at least 20 per session. Then I leave it up to them. Sometimes I feel a record company will miss the mark, but my job is done at that point. I don’t have to love the image the client chooses, but I don’t want to hate it. I do encourage people to hear what I have to say about certain images because I have had an unusually extensive amount of practice watching every muscle in a person’s face. I offer my opinion, and after that…I hope the designers are great.
While some of Irene Young’s clients come to her, a lot of her time is spent criss-crossing America going to her clients. And her life doesn’t look like slowing down. When asked what she is looking forward to over the next two years, Young responds, “Taking my girlfriend to Ireland, signing a publishing deal, having a place in New York City or Los Angeles AND San Francisco, spending time with my nephews, manifesting that shoot with Bonnie Raitt, getting more in touch with my true purpose, and as always…refining and redefining myself! How’s that for affirmations!
Irene Young’s website and online portfolio is located at – ireneyoungfoto.com
Sue Barrett is a freelance music writer and lives in Australia. Her work includes interviews with Jen Anderson (The Black Sorrows, Weddings Parties Anything), Kerrianne Cox, Tiffany Eckhardt, Deb Morrow, Judy Small, Marie Wilson (Australia); Karla Bonoff, Mary Chapin Carpenter, Catie Curtis, Cathy Fink and Marcy Marxer, Tret Fure, Faith Petric, SONiA (disappear fear), Cheryl Wheeler (USA); Deborah Romeyn, Lucie Blue Tremblay, Shari Ulrich (Canada); and Maddy Prior (Steeleye Span) (UK).
Copyright: Sue Barrett, 2001