What can photographers learn from musicians with Pete Coco

Pete is a New York headshot and portrait Photographer and musician.

Peter started photography and music at the same time as a teenager. As a musician Pete is a Jazz musician. And he spent lots of time learning the music of the Jazz masters. He spent time working out bass lines of great jazz music. As you do this over time you start to absorb their work into your style and then develop your own style. And Pete then took this approach to photography. First he started working with New York headshot and portrait Photographer and musicians

Peter started photography and music at the same time as a teenager. As a musician Pete is a Jazz musician. And he spent lots of time learning the music of the Jazz masters. He spent time working out bass lines of great jazz music. As you do this over time you start to absorb their work into your style and then develop your own style. And Pete then took this approach to photography. First he started working with Peter Hurley doing what Peter told him and absorbing his style. He then moved on to working with Ivan Weiss. Over time he has worked with others and used these to develop his own style.
Sam asks how you can learn from a photographer at a distance if you can’t speak to them. Pete says he did this with Dan Winters and he did work on replicating one of his photographs, from the composition to the lighting to every other element. He says you will learn so much more from this than looking at it in a book.

Marcus thinks that photographers don’t look at their history in the same way that musicians do. Pete says to be really good you need to go back and study the past masters before you can move forward with new style. He also says you can’t bypass this process. You can go back before photography and study art as well.

Pete says he came into photography through mentorship, no training. This has become easier with digital technology so you can work with photographers in different parts of the world. Pete now coaches photographers himself and he has a Facebook group associated with this.
They discuss the similarities between Spotify in music and stock libraries in photography. Pete thinks it’s best to avoid both as they are a very hard way to make money. Pete says professionalism is important both in music and photography. He has been at gigs where people turn up late, don’t dress appropriately and more. It’s important that you realise in both cases this is a business and you need to carefully think about that. He says some photographers don’t return peoples phone calls. That is bad practice, gives a bad impression and loses you work.
Marcus suggests that like musicians concerts are an experience, a photoshoot should be an experience. Sam takes us back to the discussion about Spotify and Shutter Stock and says whenever you use a platform go in with your eyes wide open as that will always be making money for the platform rather than you. Sometimes the platform is useful enough to make it worthwhile but be aware of that the platform are getting from that.
Marcus has a selection of Photographers who are musicians
Milt Hinton is one that Pete comes up with. He documented his life in images.

Marcus's are: Ansel Adams was a concert pianist as well as a photographer

Graham Nash from Crosby Stills and Nash is a photographer
Brian Adams also became a photographer.doing what Peter told him and absorbing his style. He then moved on to working with