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Janet Macoska started taking pictures when she was just 12 years old, her first published photo was in the 1967 issue of Teen Screen Magazine. Since then Macoska has been capturing some of rock’s greatest names from Bruce Springsteen to David Bowie. Her work is in the permanent collection of The Rock and Roll Hall of Fame, The Smithsonian Museum of American History and The National Portrait Gallery in London. This month we sat down with Janet Macoska to hear about how it all started, who and what inspires her and what it has been like shooting some of the biggest names in music history. Read the full interview below...  

SE: When did you know you wanted to be a photographer?

JM: Very early in my life. I was ten years old when the Beatles came to America (1964). I was completely in love with John, George, Paul and Ringo. Somehow, I wanted to be part of the music business. I could not play an instrument; so I followed the examples of the photojournalists who worked for LIFE Magazine. My Mom subscribed to that magazine and I loved behind-the-scenes stories that showed the real person, not just the celebrity. I took my Dad’s camera out of the front closet and started to take photos of the kids in the neighborhood and my dogs. Also, there were a couple Top 40 deejays on Cleveland’s WKYC Radio. I ran a fan club for Big Jack Armstrong, who did the evening shift. I was a HUGE fan of Jerry G. who had the afternoon shift and he had been on tour with The Beatles twice. I started to hang out at the station weekly, answering fan mail for the jocks and running Big Jack’s fan club. He would give me boxes full of 45s as a “thank you” and Jerry G. saved all the cool stuff the Beatles management sent him for me.

Often singers/bands would visit the station when they were in Cleveland for a concert. Big Jack would let me sit in the studio and take photos. I was 12 years old. I sent one of my Sonny and Cher photos to TEEN SCREEN magazine. They printed it and paid me $2.00. That started me on the road to writing and photography in the music business.

SE: Do you have a favourite camera to shoot with?

JM: My first 35mm camera was a used Minolta 101. Then I switched to Nikon FM and FM2 for the rest of my film life. They were little tanks, they could take so much punishment and keep working.

SE: Who was your favourite person and where was your favourite place to shoot?

JM: Living in Cleveland, Ohio was a huge advantage for me. Cleveland was very progressive in the music they played on the Album-Oriented Radio of the 70s. WMMS-FM broke a lot of artists in America, playing their music long before other U.S. stations did so I got to shoot artists and bands at the beginning of their success. David Bowie’s first US concert was in Cleveland. Same with Roxy Music. Bruce Springsteen adopted and loved Cleveland fans because we supported him from the start. So, understandably, Cleveland would be my favourite place to shoot. I would guess 90% of my work came from Cleveland shows.

My favourite musicians to photograph would be Paul McCartney, David Bowie and Bruce Springsteen. Roxy Music, Blondie and Ray Davies were also big favourites.

SE: Which other photographers inspire you?

JM: The early rock and roll and jazz photographers inspired me. Herman Leonard in jazz; succeeded in perfectly capturing “live performance” images in days and venues that had even less light than early rock venues. Gorgeous work! Alfred Wertheimer, who photographed as he took off in 1956. My favourite Beatles photographers are Bob Freeman and Bob Whitaker. The California photographers whose images REALLY made me want to follow the path and become a photojournalist were: Henry Diltz, Jim Marshall, and Baron Wolman. Those that I mention as influences were film photographers who learned how to deal with low light, sensitive artists and film that had limited ability to capture the action they wanted to shoot.

Even though I shoot digital now, and really enjoy shooting this way, and processing my images via computer, I know that photographers today are missing something by not having the training we had as film photographers. Mostly film cameras and photography made us slow down our shooting. See the light, and backgrounds, and learn about how to work with other people.

SE: According to you, what makes a good photographer?

JM: Serious dedication to your mission, which means studying other photographers in books and magazines; and hearing their stories. Really soak up every bit of knowledge that you can from books, film, documentaries, talking to photographers and other students. I mentioned learning about light, the equipment, but learning about people and how to work with them, how to get them to drop their wall to trust you as a photographer. It's not something that can be accomplished overnight. I still learn now about my craft and the next piece of equipment out there that could expand how I shoot. I’m going to move into mirrorless cameras for the improvements in the technology and rendering more accurate imaging. This is ultimately one of the reasons to try and change new equipment, you keep learning and it is fun.

SE: Out of all your photos which one is your favourite and why?

JM: My David Bowie, shot in 1983 is one. Sorry I can’t just choose one! It has such attitude and mood, and I’m pleased to say that David had a framed copy in his Switzerland home. Then there is a shot of Clarence Clemons, Bruce Springsteen and Nils Lofgren at the lip of the stage, totally bonded in “band energy”. Can’t think of a band that is more solid and exciting to shoot than Bruce Springsteen and The E Street Band.

SE: Which photograph do you wish you had taken?

JM: Early Elvis, those images from 1956 that Alfred Wertheimer shot as Elvis was changing the history and future of rock and roll.

SE: We love your shots of Springsteen, do you have any interesting stories about what it was like at his gigs/shooting him?

JM: Bruce always gives 1000% of himself to his audience. I suppose that might make him one of the easiest subjects for a photographer. It still is a matter of timing with Bruce, like any other subject. His fans will tell you from the numerous times they have seen him in concert what he is likely to do during every song. That doesn’t mean a photographer will be prepared. You have to have beyond lightning-fast reactions. You have to instinctively know where to be and when to shoot; and that can’t be taught. Some photographers snap the shutter but don’t FEEL the energy and the moment. I always have because I love this music and these artists so much. I get totally quiet inside. I remove myself from everything around me. Most times I don’t even hear the song they are playing. My heart and soul are like my radar. Baron Wolman, one of my hero photographers in the 60s, once said if you see the moment, it's already gone for the photographer. You have to have the instinct to feel what is coming; and click before you see it. How about that?

If you look at the cover of my book ‘Bruce Springsteen,: Live in the Heartland’ the cover shot is Bruce from 1984 in a way you don’t often see him. Most photographers shoot the biggest action shots of Bruce and the band; but the cover shot is an aspect of Bruce most people don’t see because they are not tuned in. Bruce is a fabulous guitarist. Usually Nils or Stevie are playing lead guitar; but Bruce is a master. I love his concentration on his guitar playing, the light that surrounds him. Quiet beauty.

Find some of Janet Macoska's iconic images in her gallery!