Arthur Mola

This is a continuing series dubbed “Interviews with Photographers”, in which I will be interviewing many great concert photographers such as Frank Yang, Pete Nema, Mike Bax, Igor Vidyashev and Sarah Rix. While the actual shots are always the most important aspect of a photographer’s body of work, the story and technical craft in bringing those photos into reality also deserves attention.

I am thrilled to feature my friend Arthur Mola today. From my many years in the photo circuit, I’ve had the pleasure of shooting along side Arthur a handful of times. He is one of the youngest yet most experienced and outgoing photographers in all of Canada (not just Toronto!)

Sean Chin (SC): Hi Arthur, thank you for being part of this ongoing series focusing on the talented people behind the cameras. Please tell us a little about your self, where you grew up and where you are now based?

Arthur Mola (AM):  My pleasure, Sean. Thank you for including me in this series. In a nutshell, I’m an editorial and commercial photographer based out of Toronto, Canada. My focus (pardon the pun) lies mostly on shooting entertainment, events and portraits. I like working with people!

I was born and raised here in Toronto but my family is originally from Hungary. We used to go back almost every summer when I was a kid because all my family still lives there. In a way I consider Hungary “home” even though I’ve never lived there. Hungarian was actually my first language as well and I never feel like a tourist when I’m there. I love being there … or almost anywhere in Europe for that matter.

SC: What in particular moment in time made you want to pursue concert photography?  

Arthur Mola (AM): I’ve always been a big fan of music to begin with. I went through the phases growing up. Metal. Rock. Rap. Never country, though. But regardless of what I was listening to I was always very passionate about it. I would listen to the same album for months. Same song for weeks. I still do that when I find something I really like but now my musical tastes are more varied and I bounce between genres. I like “taking it in” rather than letting the “musical A.D.D.” take over and switch from song to song after 30 seconds in. I like listening to the words. Researching the meanings behind the lyrics. I used to do that for fun when I was a kid. I really analyzed music. Needless to say, music has always had a profound effect on me. Most of the time when I’m not shooting or out with friends, I’m listening to something.

I used to play too. I’m a drummer but I also played piano and guitar and I was always the dude at school who was in 3 bands at a time. It’s actually a funny story because at one point photography and music were competing for my time … both of them were my dream jobs that I was seriously pursuing. I guess photography won in the end but I still get a rush of adrenaline almost every time I shoot music because I feel so close to it and it’s an energy I can totally relate to. I can always imagine myself on the stage and I always had a connection to the experience of performing. So, naturally, photographing concerts was the first thing I thought of when I was considering what type of things I wanted to shoot after I decided I would try my hand at photography at age 16.

SC: Did you ever take formal photography classes? If so, did it help you in anyway? If not, do you ever wish you took some courses? If so, do you feel it was instrumental in your current status?

Arthur Mola (AM): I’m a graduate of Ryerson University’s photography program so I guess you could call that a “formal photography class” even though I still consider myself self-taught as a photographer. I really resisted the idea of photo school before giving in and enrolling. I was deterred by the thought of being “formally trained” because at the time I was against the idea that you can teach someone how to shoot. I still stand by that to an extent although I see the merits of photo school. Ryerson didn’t teach me to shoot. I skipped a lot of school to assist and to go shoot things like Toronto Fashion Week and the Toronto International Film Festival. Those were the things that really taught me how to shoot and to develop my style as a photographer. I think finding your visual signature is very important and I think the only way to do that is by shooting. That’s the reason why I still consider myself self-taught as a photographer. And funny enough, I was threatened with being failed if I kept missing school to shoot. I never quite understood that since I thought it was an admirable trait for a photo student to pursue their passion in the real world and begin building their career while still in school so that they don’t fall victim to the typical photo-school-graduate story of working at a Starbucks instead of as a photographer.

Regardless, it was a great school for many other reasons. I learned about the history of photography, I learned how to work in a darkroom and how to produce beautiful fiber prints. I learned art history. I got to shoot with a 4×5 camera. All of these things gave me a greater understanding of my craft and a deeper appreciation of what I was doing when I was taking pictures, even digital ones. It wasn’t just about “taking a cool looking photo” anymore but it introduced the conceptual notion behind why it is we photograph and put more meaning behind it. In a way it was a perfect harmony. I learned how to shoot by skipping school but I learned why I was shooting while I attended school. To me it was all about getting what you needed out of it and putting it all together. I wasn’t chasing the highest grade. I wasn’t looking to write the best Artist Statement. I was just pursuing knowledge that I thought would benefit me.

Funny enough, my final thesis project was a large-format coffee table book of all the entertainment work I shot at fashion week, TIFF, concerts, etc., called “During the Times I Skipped School.” It’s one of the things I’m most proud of. The idea and execution was perfect in my opinion. The first page when you opened the book was an email exchange between one of my profs and I of him telling me how if I missed anymore school to shoot TIFF or Fashion Week he would fail me and that if work was taking up my time I should drop out. That was printed on a see-through vellum paper and peeking out behind it all was a black and white photo of Angus Young from AC/DC doing the devil horns gesture in his famous schoolboy costume. What a way to finish my University career and be able to show my professors what I was doing when my seat in their class was empty. I wasn’t sure how they would receive it since I could see how it could be perceived as snarky but they actually loved it and were moved by it. It was the perfect finale to an interesting four-year chapter of my life.

SC: Who and when was your first “official” gig with a fancy photo pass?

Arthur Mola (AM): Korn. April 4, 2006. Ricoh Coliseum. I’ll never forget that day. The process of getting credentialed for the first time was a long one and one of the best learning experiences I’ve had. It started when I was 15 even though I was 16 when I shot that show. At 15 I decided I would try to meet my favorite band at the time, which was Korn. They were headlining a massive music festival in Hungary called Sziget Festival and thanks to my father’s previous experience in journalism in Hungary (and his connections) we managed to get my 15-year-old, still-high-pitched-voice self a pass to interview the band backstage. I can remember I tried to get a photo pass to get access to the pit as well but when the promoter looked at my little point-and-shoot camera he said I better just take some pictures when I interview them backstage. I think he felt bad for me and didn’t want all the old, crusty, jaded photojournalists to yell at me for being “that guy” in the photo pit. Funny enough though, at the time I thought that camera was the shit.

I spent the next two or three weeks leading up to their concert reviewing old interviews I loved with the band, reading things about them and coming up with questions that I thought they would be excited about. I didn’t want to ask them the same things they’ve been asked a million times and I wanted to leave an impression. I really put a lot of effort into it. And being a huge Korn fan since I was about 11 or 12, I had a lot of good material and knew a lot of things about the band. Also, as a drummer I had some technical questions for David, who was their drummer at the time.

It was the day of the show and I was waiting backstage for them to come out. Their publicist showed up and told me they’d be arriving for the interview in 10 minutes. Then she said they were running late. Then after more waiting, she told me that the band wasn’t going to be able to do the interview anymore. I had a feeling this would be the case but didn’t want to believe it. My heart sunk into my chest and I was crushed.

Fast forward to about a year later… now I’m 16 and Korn was coming to Toronto to perform. At this point I had owned my first DSLR camera for I think exactly two weeks. I barely knew how to use it and shot one concert before of my friend’s high school battle of the bands to get some concert photography experience under my belt before I took on Korn. My father said, “wouldn’t it be great if you could get a photo pass to shoot Korn? You could have another chance at getting close to them and build your portfolio.” He was always thinking about how I could advance my skills and build a career around my passion but I was skeptical and convinced it wasn’t possible. He really pushed me to pursue it, do research to find a contact and get a pass. So I made calls to New York and Los Angeles and tried finding the right people to speak to. They must have heard my high pitched voice and known that I was a kid since I heard “no” or “I’m not the person dealing with this” several times from so many different people. I thought surely someone can point me in the right direction but it seemed like no one wanted to give me a chance. I remember making calls at lunchtime during high school until I finally found the right person. It was a woman in New York who knew the media relations person in Toronto and gave me an email address to reach her.

It was the day of the show and I remember hearing back literally an hour before the call time saying I was approved to shoot. My dad and I were waiting in the car midway to the venue in case I got approved and when I did, we raced down to the venue. I was so excited I thought I was dreaming. I ended up shooting Korn and their opening act, Mudvayne, that night and walked away with a handful of photos that I still think are pretty good. In fact, Fieldy, the bassist of Korn posted one of my photos of him that I took at that show. I barely knew how to use my camera since I had owned it for two weeks but it actually went really well. Everything was on manual by the way. Even my focus. I thought auto focus was for hack photographers at the time. I was very much a purist.

That show was really when I realized that this was something I could do and something I really enjoyed. It was a thrill. The feeling was incomparable. I got hooked. I should also take this opportunity to say a big thank you to Kathy if she’s reading this. She has helped my career in a huge way and I can’t express enough thanks for her to know how much her support meant to me. And also to my amazing parents who were both so supportive of me from the get go and instrumental in my development as a photographer. I learned so much from them and I can imagine how hard it is to be supportive when your 16-year-old son tells you, “I want to be a rock star or a photographer.”

SC: Who and when was your most memorable gig to photograph personally?

Arthur Mola (AM): That’s a really tough one because most of them are memorable in some way or another. But, I remember some of the earlier ones where the feeling of being in the pit was just so surreal. Beyond the obvious one, Korn, which was my first concert shoot, Shakira was also a very memorable one. I remember that was the first time a singer ever “played it up” to my camera. I got eye contact a bunch of times, which was also a new feeling because the experience I was used to at concerts as a fan, was being removed from the artist completely (when it comes to interactions). There was something very profound about being so close and being able to interact with these artists while they were performing. I always love it when they do that. Another great one in that sense was blink-182. Tom DeLonge made these crazy faces right in my camera, which made for great shots. Green Day and the Red Hot Chili Peppers were also very fun as well. But there have been so many good ones.

SC: How many gigs do you currently shoot in a month?

Arthur Mola (AM): Hmm… that number is always changing month to month. I can tell you I used to shoot a lot more concerts when I was younger but as I got busier with commercial work it got harder to go shoot everything I wanted to. I do all the big ones. Any time there’s an A-lister  performing in Toronto, you’ll probably find me there.

SC: How would you describe your style of photos?

Arthur Mola (AM): I like being a fly on the wall when I shoot. I inherited this philosophy from my mentor Chris Weeks. I picked up a lot of things from him and am forever grateful for his influence, support and inspiration. I enjoy shooting without influencing the moment … without being noticed. Of course, concerts are different. With concerts I like a bit of interaction. I still love the fly-on-the-wall approach but I also love it when there’s playfulness and interaction. But in general I try to shoot as a documentarian. Like a street photographer. I like hunting for moments. I don’t like the look of over-processed photos. I love black and white. I like to build mini stories when I shoot.

SC: You’ve been published in many magazines and newspapers all over the world. Which 3 are you the most proud of?

Arthur Mola (AM): The one I’m most proud of is my cover of Us Weekly that I got in September with my photo of Jennifer Aniston from the Toronto International Film Festival. The weird thing about that is that I had a feeling I would get a cover after the shoot. I knew it would be either Us Weekly or People. I don’t know what it was but I had a feeling. I even called my girlfriend and told her. So that was something I was really proud of.

Another one I really loved was when I got a photo of Jay-Z published in Rolling Stone in 2009. That was the first time I got published in Rolling Stone and it was always one of my goals. It was cool that it was a photo of one of my favorite rappers, too.

Last but not least, I shot an ad campaign for Ten93 Condos for one of my clients, The Pemberton Group, which was used all over the city in newspapers, magazines, and as huge billboard-style prints plastered across the entire wall of their sales center’s exterior which was my favorite. I’ve had large-scale displays of my work around the city before but it was very rewarding to see my photos presented on an entire wall of a building and watch people walk by it and experience it on such a grand scale every day.

I also have two 4×4 foot prints hanging in the Rogers Centre. One is of AC/DC and the other is of Roger Waters. I’m really proud of those and wanted to slip that one in.

SC: Which wires do you currently shoot for. And how did you end up shooting for them?

Arthur Mola (AM): I’m represented by Invision/Associated Press. I’m their lead entertainment photographer in Canada and shoot all of the big entertainment events like concerts, red carpets, premieres, etc., up here for them. It’s an amazing agency and I’m so happy to be a part of the team. You can see our site at www.apimages.com/invision. I got hooked up with them through a friend who’s one of the top entertainment photographers in Los Angeles. I’ve found that the way to get in with an agency is by being recruited by someone who shoots for them or has a relationship with them. They are a tight knit group of people and very loyal and it seems like everyone I know who is rep’d by an agency got in that way.

SC: What was the single most “sticky situation” you’ve ever been in shooting and how did you circumvent it?

Arthur Mola (AM): Funny you say “sticky situation” because at the MMVA’s one year, Katy Perry was performing and had two giant lollipops strategically placed on her chest. She took one off and started licking it and I’m snapping away getting amazing photos of the performance. I’m watching all of this unfold from my spot and I literally have the whole sequence of photos of her throwing this lollipop that she was just licking into the audience. As the lollipop goes out of my viewfinder, I feel something shatter on the top of my head. I went to touch my hair to see what it was and found rainbow lollipop shards in my hand. That lollipop was all in my fauxhawk. I kept shooting her performance but it took me a good 20 minutes to get it all out after the show. I was debating selling them on eBay but decided not to.

SC: What is a trick or tip in how you prepare for a shoot that some may be surprised by?

Arthur Mola (AM): When it comes to concerts, I like to get into the “mood” of the artist before I shoot them. I’ll listen to their music for a few hours before their show. Buy a song on iTunes and play it in my car on the way down. I like to feel the vibe of an artist so I can get into that headspace. I guess you can classify it as a form of research. I always like to do some research on what I’m shooting whether it’s a concert or a movie premiere or a portrait. But I’m all about the visceral.

SC: What do you love the absolute most about shooting concerts?

Arthur Mola (AM): I think I love the spontaneity and energy the most. Those are two of my favorite ingredients in a photo shoot regardless of what it is. From what I can recall there’s never been a shoot at a concert where there was a lack of energy or spontaneity. Even the more somber artists have energy. It’s just not the same kind of energy you’ll find when shooting a band like Green Day or the Red Hot Chili Peppers. I think when those two elements come together, magic happens. And it’s nice to be there with a camera to document it.

SC: What do you absolutely dislike the most about shooting concerts?

Arthur Mola (AM): I generally don’t enjoy when an artist lacks flavor when it comes to their stage/set. I think that takes away from the “mood” or the “vibe” that the artist has. For some it can work. But in general I don’t like seeing just a black drape as a backdrop. I like texture. Mood lighting. It adds to the “feeling” … it would be like the visual equivalent of listening to a song that hasn’t been mixed yet. It looks flat just as an unmixed song would sound flat.

SC: What are your thoughts on cell phone cameras at gigs these days?

Arthur Mola (AM): I’m kind of indifferent to them. Some photographers hate them. I don’t mind them because they’re just part of the landscape. Sometimes I even like to use them in a composition and make them work in my favor. Cell phone cameras are part of the times we exist in right now. And I really only have to even think of them at a concert as a photographer when it’s a soundboard shoot.

SC: What gear do you currently wield? And why do you prefer that brand?

Arthur Mola (AM): I’ve been a loyal Nikon shooter since day one. My first camera was a Nikon D70s which my parents bought me when they saw that my passion for photography at age 16 was real. Getting a Nikon was really my father’s choice. He kind of picked my camera system for me. But I’m totally happy with it and I’ve invested a lot of money into professional bodies and, more importantly, lenses so I’ve never looked back. There was a time when I was thinking of selling it all and switching to Canon (around the time when the 5D Mark II came out) but eventually Nikon caught up with the video aspect of DSLR’s and I’m glad I didn’t switch. I’ve been very happy with Nikon and they have a fantastic professional services department in Mississauga. Not to say that Canon’s products are worse. I’m just saying I’m happy with my choice of camera, which is Nikon. I recently bought a Leica M(240) for my personal work and I am really loving it. It comes with me everywhere and is the perfect camera to document my own life, my friends/family and to shoot street photography with. I absolutely adore making photos with that camera. It even accompanies me to “work” shoots sometimes.

SC: If you are in a situation when you only had time to take one lens to shoot a concert, which lens would that be and why?

Arthur Mola (AM): Hmm, given that I would be in the pit I would probably opt for the 24-70. Why? Because I love shooting wide. But I also like getting tighter shots too. Details. That’s the workhorse lens. If I had the option to have 2 lenses on 2 bodies I would go with a 50 or 85 prime on one and a 24 prime on the other. I love primes. But if I only get one … 24-70.

SC: Are you a Mac or PC? And Why?

Arthur Mola (AM): Mac 100%. Almost everything I own is Apple. iPhone. iPad. MacBook Pro. Thunderbolt 27” Display. I used to own a PC before getting my first MacBook when I went to University. I remember the day I got it. It was like seeing the light for the first time. After I used my MacBook, I remember going back to my PC and thinking I was transported back in time into the Stone Age. Initially I was going to use my MacBook exclusively for school … taking notes, etc., and keep the PC for photography work. That thought lasted about 5 minutes once I opened my MacBook. That PC computer was retired immediately after and I’ve never looked back. The simplicity of Apple’s products is mind-blowing. And the fact that they look pretty isn’t a bad thing either.

SC: What blogs or sites do you visit the most?

Arthur Mola (AM): My friend Severin Koller has an amazing photo blog which I always love reading. And I also love Vincent Laforet’s blog.

SC: What is something that you’re still learning or would like to learn?

Arthur Mola (AM): I’m always learning. I have a student-for-life mindset. I’ve been dabbling with video these days and that’s something I’m still learning a lot about. Both shooting and editing. I love it!

SC: What are some ways that you market yourself?

Arthur Mola (AM): To be completely honest with you, I don’t do much marketing. I have a website which I re-design and do a big update on every 2 years or so (with micro updates more frequently) but aside from that I don’t really do marketing. All of my work has come from word of mouth, which is, in my opinion, the best form of marketing in this field. Word of mouth and keeping your clients happy is the best combination for success and growth as a photographer.

SC: Your thoughts on release forms these days, what you feel they represent and the relations they create between musicians and journalists?

Arthur Mola (AM): Release forms make me laugh sometimes. I’ll get approved as a wire shooter for some shows and then read the release form that says “no syndication.” Then again, if a show has a release form, I cannot sign it so that’s the end of that. I don’t even think twice because there’s nothing I can do so there’s no reason to get upset about it. It is what it is. I know some people who sign them anyways but that’s not my style. I like to build trust so if I can’t sign it because it conflicts with how the photos are used, I won’t shoot the show. Thankfully it doesn’t happen that often.

SC: You also do a lot of martial arts. How long have you been doing that for. What does it mean to you? And do you think it impacts your photography work in anyway?

Arthur Mola (AM): I started training when I was 8 or 9. I got my first degree black belt in a martial art called Tae Keuk-Do when I was 12 or 13. I used to train 4-5 times a week back then. It was my passion and what I wanted to do all the time. Unfortunately my school shut down (it was very strict/harsh and parents didn’t like the fact that their kids failed the tests) so I stopped training after they closed their doors. I looked for other schools but didn’t find one that I clicked with in the same way and eventually my passions for music and, later on, photography started to take over.

I decided I wanted to start training again about three years ago so I hunted down my old instructor and we were doing one-on-one’s just once a week but he passed away in a tragic accident so I was on the look out for a new school again. I found a school called Northern Karate in North York where I instantly felt at home and loved the instructors and students. There was passion for what they were doing. And an immense amount of skill. It reminded me of my old school but a 2.0 version of it since martial arts had evolved in the last 10 years since I stopped. What I mean by that is even though it’s a Karate school because we learn traditional Karate katas and weapons training, we also learn jiu-jitsu, boxing, muay thai techniques and combine it all into mixed martial arts training. I’m there between 6 and 9 times a week. It’s addictive. It totally becomes a part of your life and who you are.

I think it impacts my photography work in a sense that it humbles you and keeps you grounded. It keeps you disciplined and focused. It reminds you of what’s important in life and gives me balance. I don’t get pissed off at small things as much anymore. And that “student-for-life” mentality I was talking about earlier, I believe, is rooted in my martial arts training as well. We are always learning. Even my 6^th degree black belt instructor who has been training for almost 30 years has an open mind about learning new techniques and skill sets. It’s inspiring to see that. Martial arts has always been an important part of my life ever since I started when I was 12. Even though I took a 10-year break … it was always there. And I’m so happy I started back up again. I’m actually testing for my second first-degree black belt (at this school now) later this month.

SC: What is your dream? Where do you want your career to end up?

Arthur Mola (AM): Honestly, two of my dreams were to shoot the Sundance Film Festival and the Cannes Film Festival. Why? Because those are the two biggest film festivals in the world. I’ve been shooting the Toronto International Film Festival since I was 18 (I’m 24 now) and I think that will always my favorite one because it’s in my backyard. But … I’ve always had a desire to see the other biggest film fests in the world and to make photos there. Most of the photographers I looked up to shot them and it kind of seemed like if you got there you “made it” as a photographer. Funny enough I shot the Sundance Film Festival for the first time in January and will be flying out to France next month in May to photograph the Cannes Film Festival as well. Both for Invision/AP. I’m very lucky to have been able to fulfill two of my dreams as a photographer and the next things on my list that I’d love to shoot are the Grammy’s and the Oscars. I’d also love to be a tour photographer for one of my favorite artists and do more of the reportage-style photographs of what it’s like to be on tour with an artist. That’s definitely another goal. I also wanted to do a photo story on Lil Wayne while he was in jail but that would have never happened.

In terms of concerts, my ultimate goal is to shoot Eminem. I’ve shot nearly all of my favorite childhood bands/artists but I never got a chance at Em. I would have loved to shoot him when he was still young, angry, blonde and rocking hoop earrings and a wife beater … but I’d still love to shoot him as he has evolved and is today. Perhaps one day I will.

SC: Thank you so much for your time with us Arthur!

Can you find more about Arthur online: 

• arthurmola.com
• Twitter: @arthurmolaphoto