Cam Gilson

There’s a quote kicking around the recesses of the internet that goes something like this:

“There are people out there doing the things you want to do, simply because they decide to believe in themselves.”

In one sense, it’s uncomfortable to read. It feels, partly, like an accusation, making it easy to dismiss as some kind of Tumblr-era self-help mumbo jumbo. But it’s the truth. There’s something unique about stepping out and doing. That’s where the experiences are. That’s where the growth happens.

We’re all familiar with the “follow your dreams” platitude. We’re all familiar with “moving to the big city” narrative. We’re less acquainted with the actual steps necessary to make that sh*t happen. Needless to say, Cam Gilson took the plunge. Within two years of graduating university with a business degree, he stepped into an entirely different life as a creative producer, photographer, and cinematographer. Since then, he’s shot for artists like Cedric Gervais, Sander van Doorn, and Hayden James, and covered massive festivals including Tomorrowland, Holy Ship!, and Electric Zoo. He even bumped shoulders with (GOAT) comedian Dave Chappelle last year while shooting the Gem City Shine event in Dayton, Ohio. That in & of itself should make a career in photography worth it.

Check out his work here, and dive in for a far-ranging conversation on pandemic-era New York City, avoiding creative slumps, and why the best festival headliner pairing might be Dua Lipa and SAINt JHN.

You mentioned that a lot of creatives are fleeing NYC these days. What does it take to survive a pandemic-era Manhattan and what’s something you learned about yourself during this period?

Honestly when [the pandemic] first started, I was like, “Oh fuck, this sucks — what am I gonna do?” I was supposed to shoot Miami Music Week, so when that fell through I was in the slumps for a solid month. That trip definitely would’ve changed the trajectory of my career. I had to get over it and just think, “Well, what am I gonna do next?”  

Adaptability was the biggest thing for me. Concerts aren’t going to be around for a while, but I can do architecture, products, anything that doesn’t directly deal with people. Up until that point in my career, I had almost refused to do that kind of stuff, and I’d only been shooting music, or portraits, or fashion – I never went the inanimate objects route. But it’s definitely a viable option for any creative in this industry.

I know you recently opened up a studio. Do you think you’d have done that without COVID?

I would’ve, but it would’ve been much further off. Without [the pandemic] I’d be shooting music festivals right now. [Laughs] I would’ve been on the road every other weekend.

But I always wanted a studio. I used to watch Casey Neistat’s videos when I was in high school and they turned me onto the idea of having your own studio and just doing your own sh*t. It was one of my biggest goals in photography and I just went for it. Plus, prices [in NYC] are way down during COVID, which is great for anyone who saved up.

So many people left NYC, so there’s a big gap for creative work. Sure, a lot of it is done remotely now, but a lot still needs to be done in NY, so that leaves a lot of room for people like me to come in and get work.

You do a ton of different types of photography — modeling, portraits, music festivals, etc. — what’s your favorite mode of shooting and why?

Definitely festivals. I’m a very social person and I love meeting new people, going to new places, trying new things, eating new food. Anything new for me is exciting. Wherever you go at a festival, you’re gonna find a new adventure, a new person to meet, a new photo to take. Plus, I mean … I love music, so it all ties in together with that as the cherry on top.

What’s your dream festival line up? Who would you want to shoot the most?

So I’ve thought about this for a while. The answer is: Dua Lipa and SAINt JHN. Those are the two artists that I want to photograph. Back when I decided that, at least a year and a half ago, SAINt JHN was decently large, but he’s fucking popped off now. People are like, “Oh you want to shoot SAINt JHN? Good luck!”

I’ve never been to a concert with either one of them, but honestly I don’t want to go until I can actually shoot them. They’re both so unique, and their voices are very, very different. Different from the average singer. And I think that’s my style: finding people who are unique and different.

What advice would you give to your younger aspiring photographer / videographer self?

Cater to the customer. When I first started out, I was thinking more like, “I’m an artist – it’s my way or the highway,” you know? You have to be adaptable, and be able to understand what the client needs, and then going from there and adding your own style. That alone is really, really powerful, because then you create some of the best content that you enjoy making but also that the client likes as well. And that’ll lead to more things down the road and more success.

But I definitely didn't do that for a long time. I would just be like, “This is what we did — we shot this. If you like it, you like it. If you don't, you don’t.” And hey, I do know some people who do that approach, but for me, collaboration is really important. It’s not a one-way street.

Getting those artists passes is the holy grail for most music-oriented photographers. How did you transition to working with artists directly and having all-access at shows?

I've always worked with artists directly, ever since I first started. My first gig was in basically like a wine-bar, this big barn that had table seating, and I shot for the bands playing there. It was awkward for me – it definitely wasn’t a photographer “scene,” you know? But I just wanted to shoot anyone I could.

In a practical sense, what’s the best way to get in touch with artists and get those gigs?

Just reach out through various avenues and see what happens. You never know. The number of DMs I’ve sent, the number of times I've hit people up … it’s crazy. You're going to get all “no’s” for a while, and then you'll get maybe one “yes,” but that one “yes” turns into more “yes’s” over time the more work you do and the better get.

But you always want to work with the artists. From what I’ve seen, people who shoot for venues or publications aren’t treated as well as you would be if you were with the artist. And there’s a chance your photo rights go out the window if you're shooting for a venue. Personally I never give up my waivers.

“You have to stand up yourself — a lot of photographers don't and they just get treaded on.”

Info like that is the reason I do these interviews, honestly.

You have to stand up yourself. I feel like a lot of photographers don't and they just get treaded on. I think having a business degree helped me understand sending contracts and other general business practices in this industry. You're running a business as freelance photographer, and that’s one of the most important things to keep in mind. I’ve been assisting for a photographer recently, and one of the biggest things he’s mentioned is that “marketing is your biggest asset.” And it’s so true. Having a different perspective on how to market myself … that's literally the reason why I am where I am nowadays.

So having a business degree helped you in this line of work?

Definitely. It helps being able to understand business language & communication, and knowing how to do accounting and keep track of all your expenses. A lot of photographers don't even realize they can write off trips. Like, say you’re going to Miami to shoot a festival – you could write off a decent number of things from that trip and that’ll save you on taxes. A lot of creatives get fucked by taxes and then have to find a real job.

That being said, if I were to do it all again, I wouldn't go all in. Ideally, I’d have a freelance gig and then also have part time job on the side. And sure, part-time jobs can bleed into full-time jobs pretty easily, and then all the sudden you’re losing track of your creative outlets, but you just have to make sure you set limits on your time.

When I started doing photo full time, I literally went straight all in and cut out all my other options. I went through some really low points, personally and career-wise. I had to kick myself into drive and work harder.

“Kicking yourself into drive” — that’s a good way to put it. What’s a concrete way to do that? How do you get out of those low points?

For me it comes in waves. There’ll be times when I’m shooting a lot, and I’ll get really burned out, and then once I’m burned out I’ll be like, “Oh shit – I need a job,” and then I’ll get into a slump. It happens every year, maybe twice a year, for maybe a couple weeks. You have to just take the first step, and realize you took that first step and that you're going in a positive direction. That gradual improvement is essential. Instead of saying, “Oh I did this shoot today and it looks cool, but it’s only 1 shoot … I need way more,” set a goal for next time. Maybe 2 shoots in a day. That’s the only way to get out of a rut. But it’s easier said than done.

“I wanted to be at the center of it all and experience it personally instead of seeing it all on the news.”

Since we're indoors a little more these days, not out shooting shows & festivals, I’m curious — What do you think is the biggest upside to the whole Coronavirus challenge and what have you gotten out of it that could be a silver lining?

I learned a lot about myself and what makes me happy. I started paying attention to me, you know? Before I was always paying attention to what other people around me were doing, and with that it’s easy to lose sight of who you are at the core, your beliefs or morals.

Well, you chose to stay in New York City. That definitely speaks to following your own path and not worrying about anyone else.

I knew that it would be one of those times that people won't ever forget, and I wanted to be at the center of it all and experience it personally instead of seeing it all on the news, or on other people’s [Instagram] stories. Most of what we see on the news is a lie, anyway – it’s not even about delivering information. No matter which side you're on, no matter which channel you’re checking in to, it’s about which headline is the most clickable. It's about making more money.

But like I said, I love experiencing new things, so it was a simple decision to stay here.

In fact, one of the most memorable things this year for me was biking down 5th Ave and looking straight ahead and then looking back, on my bike, and not seeing anybody. Not one car, not one person, as far as I could see in both directions. I was like, “What the fuck?” It was like 6:00 PM on like a random Tuesday. It was the most insane sight I've ever seen in my life. It really changed my perspective on how fast things can change, just like that.