Residing in the Ottawa Valley, Émilie Klemm uses her run-down analog photography equipment to observe the hidden details within her surroundings. Whether at home, in her neighbourhood or with her peers, she looks for tones and grain, accepting dust and blurry moments. She presents her images with the rawness and simplicity missed in digital technology. On late nights, she can be found photographing the local music scene in Ottawa.
You can find her work and pictures of her cats on Instagram: @meatnerd
What inspired you to start photographing the Ottawa music scene using analogue film?
It might have been a night at The Rainbow, in late 2021, when Wyatt C. Lewis (before he blew up) was opening for Menno Versteeg of Hollerado. The post-lockdown excitement for live music was palpable, and bands scrambled to book gigs. Having already been shooting film consistently for a few years, I thought, “Well, I used to do this ten years ago with my digital, so why not on film?” I’ve been hooked ever since.
I believe analogue photography complements the authenticity of the music scene—by accepting grain, blur, double exposures or underexposures, you can feel the raw energy and mood in each shot, as if you were there.
Are there any specific techniques or equipment you prefer when shooting live music?
My film stock rotations are Ilford Delta 3200, HP5, homemade redscale film and the odd Cinestill 800T. My favourite knacks are taking pictures of people taking pictures (on their phones), details of instruments and double exposures, which is always a sweet treat at the end of my roll. I have a crummy flash, I love my Cosina’s CT-1, (a simple mechanical camera), which I can reload quickly in the middle of song. I’m surprised it’s functional, because I’ve attended quite a few punk/hardcore shows with it, and it’s survived a handful of mosh pits. I’ve brought point-and-shoots and a Polaroid to a show, too. You don’t need fancy gear to create a great picture. Take your shot, and move around if you can. Let the fans enjoy the show, too.
What are the biggest challenges you’ve faced in capturing the energy and atmosphere of live music on film?
I recommend going with your gut. I can’t think of any disappointments—maybe getting your film back only to realize everything is underexposed. But, having the camera glued to your face and making quick decisions will get you your shot. You can’t second guess yourself or you might miss an opportunity.
How has the Ottawa music scene evolved since you began photographing it? What trends or changes have you observed?
As someone attending Shawn Scallen’s shows since 2009, I’ve recognized that the scene is supportive, safe, friendly and tight. We all share the same passion for live music. It’s been neat seeing the different genres of bands flow through; I grew up on a lot of indie, and then next thing you know, you’re throwing yourself into some pop punk. Before the pandemic, you had a wave of shoegaze and experimental projects. There’s been a huge boom of new bands eager to play and already receiving a tight fanbase. All-ages shows are a big one, too. I’m glad these kids experience what I missed at their age. It’s cute and wholesome. I’m happy for them.
I know Ottawa has been more or less struggling with its venues. We have seen some good venues come and go, but the community, promoters and musicians quickly gather and try to find the next new hot spot to host gigs. Empty warehouses, art spaces, cafes, legions, house shows and even parks! I’ve been impressed with how much it’s evolved in the last five years.
Are there any local musicians or bands you believe are underrated or deserve more attention?
There are so many to name. I’m a big Grandmother fangirl. Moratorium is up there if you’re into hardcore. Also, shoutout to Cardamom Years and Wychwood, who tore it apart during Side by Side weekend in late July.
I lost my cassette tape, but I was pretty obsessed with Mr Power‘s Romance EP a few years back. Thunderkok always puts on a ridiculous crazy show. And if anybody remembers The Balconies‘ first album from 15 years ago, they (and Hollerado) are probably my motivation to get out and support local music with my camera.
How do different venues impact your photography style? Is there a particular venue you prefer to shoot at?
House of TARG is probably my most shot-at venue. The Dom looks great on Polaroid or redscale film—very punk/edgy. The Kent Street Legion can be neat because they have mirrors covering the stage walls. Avant-Garde is a hidden gem. Each venue is different, and you learn how to work with the space. I’ve photographed venues where the lighting is difficult to work with, or they have a super ugly ceiling you can’t avoid in your shot. Or you arrive and it’s, “Oh, this is a sit-down kind of show.” Bronson Centre doesn’t allow flash, which I rely on, so I have to be quick and still. It worked out in the end and was a great opportunity to learn more about myself as a photographer.
How has documenting the local music scene impacted your own life and perspective?
It’s impacted my wallet, haha. Tickets and film bills add up quickly. On many occasions, I had to cancel plans in my personal life to go to a show. Besides being super busy at night, it hasn’t professionally impacted me making me a known concert photographer. I haven’t had any paid gigs for bands, partially because I’m a huge introvert when promoting myself. I’m mainly here to document the local scene and discover new music. Every band out there deserves a chance to be heard.
It’s a dream of mine to document a recording session or tour one day, but for now, I’m happy with where I’m at. I have plans to do a big push with my work, maybe a solo exhibition or re-release of a zine I made a year ago. Life’s been pretty hectic this year—working three jobs, juggling a social life and forgetting to be home sometimes, all while trying to continue my art practice.
What advice do you have for photographers wanting to capture their local music scene?
Network! Talk to other musicians, promote yourself and play the game. It’s key to show your interest in their craft, just as it is important for yours. Even a “Hey, great show, can I buy a tape?” I’m sure they are just as thrilled to talk to you because they noticed you with your camera. They are being seen. And you never know, the right connection might lead to something bigger.
Have you received any reactions or responses to your photographs from musicians or the community?
Other than the odd compliment from bands and friends, I honestly haven’t a clue who’s looking at these. I do genuinely hope people appreciate what I share.
Any last thoughts on the local photography and music scene in Ottawa?
Have fun, buy merch and respect the space—nobody likes an asshole.
Émilie Klemm. Photo by: James Blackwell
