An Interview With Chloe Moon Flaherty
July 31, 2025Back in winter, I was interviewed by Chloe Moon Flaherty
for her project, “You Are Here.” It was a print-only, 64-page collection of portraits and interviews from the NY music scene. I really appreciate Chloe reaching out to me and taking the time to put together such a wonderful project. Here’s the transcript of that interview.
CM: How did you first break into photography?
DC: I started doing street photography in late 2007. I was working a finance job but I had a point-and-shoot and I kept wondering, “How do people make those dreamy, light trail photos?” I didn’t even know the terms, I just knew my photos didn’t look like that. The more digging that I did, the more I realized at a certain point I couldn’t really do that with the equipment I had. So, I picked up a Nikon D40—the cheapest SLR I could find.
CM: Why do you make images?
DC: I always wanted to be able to share the things that I see. You know when you’re trying to explain to a friend where to look, but you can’t come up with the words? I’ve always wanted photography to be those little extractions—the things I notice that a passerby won’t.
CM: I think in recent years, the concert photo has taken on more of a utilitarian aspect.
DC: I think there’s a split. Depending on who you ask and where they are in the industry, you’ll hear things like, “This is just a means to sell tickets or improve my social reach,” or “I’m just doing it because I have to keep the social machine moving.” But, I think that on the photographer’s side, there are a lot of people who want to put their own spin on things through things like long exposure, frost glass, and mist filters. I think if you connect with the right people—with an artist or a TM [tour manager] directly—you can find people who will respect that. In the broader scope of things, though, it’s really hard.
CM: Do you see a change in how the concert image has been valued, whether because of social media, Al, or just the sheer amount of them being made?
DC: There are a lot more photographers than there used to be. It’s a weird thing where the barrier to entry is much lower than it’s ever been, but the ceiling is much higher as well. Anyone can pick up a camera and processing software is much more accessible. If you’re determined, you can really make do with a little, right? But the process of moving upward, of getting to a place where you make this your profession, has become more obfuscated.
CM: Have you found a community in Concert photography?
DC: Yeah, I mean, this is my eleventh year. There’s a community, but it’s got a bit of a revolving door to it. There are some people who I started with who don’t do it anymore and then, of course, you have online communities. There are Facebook groups and Discord servers where you can find people who are trying to shoot shows.
CM: What is the significance of having these forums?
DC: There are a lot of things that, once you get into the rhythm of doing, you take for granted as common knowledge. Let’s say, you get to the box office and your name’s not on the list, right? What’s the protocol? Were you supposed to have a phone number and email? Someone who’s doing it for the first time may not know that right away.
CM: You’re in your eleventh year, have these communities become anything else to you? Have you taken on more of a teaching position?
DC: These days I do take on, not necessarily an instructor’s position, but at least a sounding board role. When I’ve been frustrated, the thing that has meant the most to me has been having someone say, “You’re not crazy, this is a problem,” “It’s tough,” “It’s kind of, unfortunately, the way of the world for this industry, but the things you’re observing are valid,” right? It’s more than just saying, “Here’s how you make a photo” or, “Good job, here’s a contact.” These kinds of things are how you get people who stay in the community and don’t burn out when they hit a wall. They need more than someone who’s just telling them how to make a dollar all the time.
CM: You’re speaking to the passion and aspiration of it all. What would you say to someone who might be on the verge of burning out?
DC: Young or not, if you feel like you want to take a break, please take a break. Your mileage may vary if you’re trying to do this full time, but taking a step back and figuring out how to contribute to the industry—rather than how to contort yourself to fit into it—goes a really long way. Figure out what you can do that is powerful for you, and then put that out into the world as much as possible.
CM: What was the last impactful image you made for yourself?
DC: I got to shoot Janelle Monáe last September. She was a bucket list artist and it was very satisfying, not just because I got to photograph the show, but because I put the pieces together myself. It wasn’t through a publication, it wasn’t through a label, it was directly through the artist. That’s something I feel really proud of.