Photography

So, you want to get into Photography?

An interview with Theatre Photographer, Marc Brenner

Marc Brenner is a London-based photographer, specializing in theatre, film, corporate reportage and portraits. He has worked with some of the most successful and demanding creative leaders in British theatre. They have looked to Marc to create rehearsal and production images that sell the energy and beauty of their productions. Marc believes that there is nothing more satisfying than capturing a moment of drama and then seeing it spearhead a successful marketing campaign.

Some of Marc’s career highlights include working as season photographer for the debut MGC series of plays, being one of the five chosen to document the Globe to Globe International season, being part of the permanent front of house exhibition at Shakespeare’s Globe, being exhibited at the V&A’s ‘Shooting Shakespeare’ exhibition, being the Donmar Warehouse’s house photographer for five years, being sole unit photographer on the motion picture ‘Genius’, and being the sole behind the scenes photographer on Disney’s Frozen (Broadway).

I would like to thank Marc for agreeing to do this interview with me; I hope you find it helpful! You can find out more about Marc on his instagram @marcsbrenner

How did you work your way up to having a career as a theatre photographer?

I began by shooting very small-scale productions – for nothing. Amateur theatre and pub theatre, mostly. It was all about building up a portfolio of work – and getting used to the technical aspects of shooting performance. Once I had a pocketful of images that I was pleased with, I emailed a number of professional companies whose work I admired, and asked them to give me a shot. I was incredibly lucky that the Donmar Warehouse gave me a break. And then it was a case of work begetting work. One company sees something in your photographic style it likes and offers you a gig, and then you’re hopefully noticed by another company who wants ‘more of the same.’ You try to offer them that and more. There’s nothing formal about the career route of a theatre photographer. You shoot a show and the quality of your work, and your interpersonal skills, will hopefully sustain a living. 

How did you seek out opportunities when you first entered the industry?

I kept an eye on shows that were scheduled and then tried to make contact with producers, marketers and directors as early as possible. All you can do is to email and present your work – back then I didn’t even have a website and so sent a PDF of my work. It’s much easier now to make an impact. I was really interested in theatre to begin with and so had a reasonable grasp on where to look for information. 

Where do you find inspiration for your work?

Everywhere. Books, films, art, music – the lot. I return to Elliott Erwitt’s work more than any other photographer. His composition and the sheer wit he brings to an image takes my breath away. I’m also really inspired by the work of great cinematographers; Sven Nykvist, Gordon Willis – if I could produce a single frame as beautiful as anything they created, I’d be delighted. 

What is a common misconception about theatre photographers?

There’s a common misconception that theatre photographers set up a camera on a tripod in the middle of the auditorium and just click the shutter, every now and then. We’re constantly on the move, making choices, pointing at the ‘not-so-obvious moments’, and trying to capture the energy and dynamics of a piece. 

Had you always wanted to work in the creative industries, or were there any other careers you considered?

Yes. Although it took me ages to find out what role I might be suited to.  

How would you describe your creative process?

My creative process requires that I capture something of someone else’s creative process. It’s all very instinctive really. I enter a rehearsal room, or an auditorium, and try to ‘stalk the energy’ – it’s all about honestly reflecting the intention of the piece. I try to see the less obvious image – while keeping an eye on a marketable image that sells the show.

 What is your favourite aspect of your career?

There are two. First, I’m fascinated by process. I love to watch creatives create. Second, and most importantly nothing beats the feeling of nailing a near-as-dammit perfect image – one that encapsulates the heart and soul of a production. Every now and then a director might say that I’ve captured something that they themselves didn’t see in their own show. That’s the best feedback.  

What is the one thing you wish you had known before you embarked on your career as a theatre photographer?

You don’t have to produce ‘polite’ images – you don’t have to play safe.

For you, what is the most difficult aspect of being a theatre photographer?

…the shoots where, however happy the client may be, I know that I didn’t crack it. 

What advice would you give to aspiring theatre photographers?

1. Be playful with your imagery. If you’re starting out, you’ll never have more freedom to experiment.

2. Be fearless in pushing yourself.

3. Be mellow about rejection – keep going. But be realistic – there are far more theatre photographers than there are shows…

4. Be respectful in the rehearsal room and performance space.

5. Be better. Always develop your work and your practices.