On a mission

Photography By Lilli Long

Film photographer Lilli Long talks about the importance of giving yourself a chance, the cycle of self-doubt, and pushing the limits of film photography.

Austin, USA

When did you begin your journey as a photographer?

I’d been taking photos sporadically since I was young, but I started doing it consistently when I was 17. I had been taking photos for a while before I considered myself a “photographer”. I am overall fatally self-critical so I didn’t share my photos for quite a while and even had a hiatus between where I am now and the original creation of my Instagram. Cycles of self-doubt be damned, I’m on a mission to be satisfied with my own work.

What have you learned along the way?

I’d say the biggest thing is just being confident in yourself, and not even entirely I’m still most definitely working on it, but just confident enough to put yourself out there for whatever reason. Being able to give yourself a chance in the first place, no matter if you put your work out there or not, is by far one of the most important things I’ve learned.

How would you describe your style?

My style is a bit messy honestly. Focused and intentional, but messy around the edges. I pretty much only shoot film now, so I make it a priority to experiment with it and push it to its absolute limits. Shit’s too expensive so I decided to get a job at a local film store for that employee discount, and it’s definitely been a live saver.

Many of your images document live music, artists, and nightlife in Austin, Texas. Why does this subject matter inspire you?

It’s where I was born so documenting the local phenomena while it's still kicking and I’m still here hits me in my little photojournalistic heart for sure. Interesting things brewin’ down here. Lots of people moving in and out, and lots of locals deciding to stay creates some intriguing dynamics. A certain anger breeds in Texas, and I think that’s become a focal point of my work.

Tell the story behind one of your images.

I took this one at Willie Nelson’s Ranch during their most recent “Lucktoberfest”. The amazing Sloane Lenz, also of Lord Friday the 13th, was going to debut her “collection 7 ½” for Luck’s ‘Desert Roses’ runway and had asked me if I’d like to be one of her photographers for the show as well as getting to shoot the runways of the other designers that were part of it which was such an honor. The runway seating and media areas were packed once I had gotten out there after doing BTS shots, but I managed to squeeze in and sit on the ground in front of the Oprey House which made for some really great angles and shots at that time of day.

What are some difficulties you've experienced as a photographer? How have you overcome them ?

Being a “woman” in the photo world is already pretty annoying, being belittled by the occasional film bro. As well as the usual dangers of the music scene like the friendly little gropers that think I somehow cannot see them while I’m trying to take a photo, but persisting forward with my work and being recognized for that definitely helps me realize I deserve my place.

In addition to nightlife, you have also shot fashion runways. How do you approach this differently than nightlife photography? How does this inspire you?

In terms of technicality, runways tend to be a generally brighter overall setting so I have a bit more flexibility in my choice of film stock. A big difference is how the subjects move in the two different settings. On a runway, there’s a pretty linear feeling to the movement with a few pre-decided points for the models to hit a move for the cameras. With bands, it’s relatively unpredictable but if you can catch onto the beat you can typically expect when the people performing are going to go hard.

If you could have dinner with three people, dead or alive, who would they be or why?

If I could have dinner with three people, dead or alive, it would probably be Anton Corbijn, Robert Mapplethorpe, and Vivienne Westwood. All creatives that have seriously influenced my approach to what I do. Corbijn was the first to ever even make me consider one could be successful in doing the type of creative work. His work for various Depeche Mode music videos as well as his documentation/ portraiture of the music scene are some of my all-time favorites. And of course, Robert Mapplethorpe, an icon and figurehead in the documentation and representation of queer joy is an everyday inspiration for me.

What's next for you?

I honestly don’t know. Whatever I feel like doing in the moment I suppose. Might move across the country, might release a zine, might focus on fashion photography for a while. I definitely have a few years before I have to get serious serious, so I’m going to indulge in that while I can.