Aspiring Photographer Captures Local Talent

Every up-and-coming band needs to be building their press package. Directing your vision requires a strong relationship with the one behind the lens.

Live videos and promo-pictures all comprise good digital stock. While a judging lens is relentless, a clever clicker can remedy any band's insecurities. On their behalf, local photographer Trevor Marshburn comes to their calling.

"It's exciting and raw," Marshburn said, describing the electric atmosphere of local venues.

Citing Harold Edgerton as a hero for his advances in flash and stroboscopic photography, Marshburn utilized what he knew to bring out the best of his surroundings.

"I grew up in Woodbridge and the surrounding towns," Marshburn said. "I like the area and love the music scene. My favorite photographers are the millions of amateur photographers.  Just like the local band, they are just doing what they love to do, trying something new, and sharing it with the rest of us."

Therefore, the elements of amateur photography run parallel with any band's harmonious fervor.

"This was my calling," Marshburn said.

Marshburn has shot an array of genres. Citing Vienna's "The Soundry" as his favorite venue, some of his subjects include "Fishbone," "The Aggrolites" and local celebrities "Daycare Swindlers."

"There is nothing like a local band," Marshburn said. "They are about their music and that's it. Egos haven't taken over and money hasn't corrupted their motives. They want to share what they love just like I do."

And with the good comes the band. Inevitably, Marshburn quietly observed the relentless cyclical nature of many bands.

"I've kept up with a few of my high school friend's bands and have been able to watch them grow, die and evolve," Marshburn recalled. "The music in the area has always done something special for me. I only hope it will continue to grow, and that I will be able to shoot and record for the many years to come."

Though he is diversifying his portfolio, Marshburn has discovered from his best work that professional observation benefits from personal experience.

"Before starting documenting musicians, I was one myself," Marshburn said. "I played in band in high school and played a couple shows, but never felt right behind the microphone. It wasn't until recently that I felt complete listening to music and shooting at the same time. Music and photography in the same room, and I am a happy man."

Yet, every musician wants to look good. For Marshburn, his side came naturally. His passion for music is deeply rooted.

"I love music, I always have," Marshburn said.

Marshburn started on a Canon Rebel XTi, but his current weapon of choice is the Canon 5D Mark II with a slew of lenses. For shooting music and videos, Marshburn prefers a 15mm fisheye, 50mm, and 135mm L series, also shooting 17-40mm L, 24-105mm L, and 70-200 f/2.8L IS

All of his equipemnt sounds complicated, but his works carry elementary origin. Marshburn received his first camera for free in a bundle with a printer.

"The thing was nothing short of a brick, but it took pictures," Marshburn said. "I carried it everywhere and I snapped a shot of anything that moved or didn't. I got hooked and knew I wanted more from a camera and more from photography. I saved up all my birthday, Christmas, and graduation money that year to get my first DSLR. I knew this is what I wanted to do."

Luckily for musicians, Marshburn found people the most intimate subjects.

"There isn't one single human on this planet that is like the other," Marshburn said. "There is something special and beautiful about all of us. Sometimes this beauty is quite ugly or unsettling, but it's there and I can bring it out."

Marshburn advises those who are following in his footsteps - and there are many.

"Just shoot it," Marshburn directed. "Put yourself out there, don't be afraid. Photography can be intimidating. To this day still get intimidated by the vast volume of photographers out there. Try something new, put yourself into your pictures and be yourself."

That means documenting your work.

"You can be the best photographer the world has ever seen, but if it hasn't seen you, you've got nothing," Marshburn said.