Belinda Naugler Adams - Halifax Photographer
NOD: How did you get started in concert photography, and what drew you to this niche?
BELINDA: Shooting local bands kind of brings everything full circle for me. To start at the beginning, I need to go back to 1989. When I was a student at Dalhousie, a guy from my French
class asked me to interview and write an article about the band he managed for a local fanzine. I met the band (called The Crypt), interviewed them a few times, wrote the article, and took their pictures at Dingle Park and at a few shows. The bass player was so cute that I married him. No kidding. So, I guess that was the beginning.
My now husband (then boyfriend) played in several bands over the years. They would play at venues like The Pub Flamingo, Double Douce, Misty Moon, Secretaries, and in the dingy basements of frat houses. Sometimes, I would go with my film camera and 8mm video camera to try to document what was happening. Other times, I would go empty-handed just for the vibe. But for the most part, I constantly had a film or video camera hanging around my neck during those years.
I developed film and prints in a darkroom at Dalhousie, but when I was in my 3rd year, my parents bought me my own darkroom equipment. At that time, I lived in a sweet little apartment near Point Pleasant Park with three roommates. I turned my bedroom into a darkroom, taping black garbage bags over the windows to block out all the light and having all the equipment out and ready so I could print when the feeling would hit me. The floor was covered with chemical trays and tongs, and jugs of chemicals lined the walls.
I set up a line across the room to hang my prints by clothespin to dry, and finished prints were thumbtacked to all the walls, many of which were duplicates as I played with dodging, burning, filters, exposures, and vignetting. The enlarger was on the floor beside my closet. There was a small lamp on the floor beside my bed - which was just a mattress on the floor, and stacks of books and piles of school work beside it. My bedroom was next to the bathroom, so I could easily run out to use the water for development when needed. It was a bit of a process. I can still picture it if I close my eyes. I met my husband during that time, and when he saw the state of my room, he didn’t run away, so I figured he was a keeper.
I had all that darkroom equipment for decades until a few years ago. I dragged it all to Toronto with me when I moved there after school, where it sat in a storage closet for years, and then back to Nova Scotia again. After we bought our house, I dreamed of making a proper darkroom in our basement, but once I started using a digital camera, I thought I would never go back to film. Trying to make space in my house, I packed it all up and gave it to Goodwill. I'm kicking myself over that now.
While living in Ontario, I only photographed my life the way someone who loves photography photographs their life capturing the shape of an interesting doorknob, sunshine through the trees, light bouncing off my coffee pot, street signs, bugs, overflowing garbage cans, reflections in puddles. That sort of thing. I would make little home movies to send home to my parents, which were recorded on VHS and mailed by post. At one point in my life I wanted to be a filmmaker. I even quit school for one semester to work on a screenplay with a friend - though it went nowhere. We wrote a few raw, restless, soul-baring scenes—painful and a little bleak—but we thought they were cool. Dreaming about being filmmakers was fun, even if that’s all it ever
was.
We saw a ton of bands over those years living in Ontario- Neil Young, Nirvana, Kiss, Smashing Pumpkins, The Ramones, Pearl Jam, Soundgarden, Green Day, Red Hot Chilli Peppers, The Breeders, The Hip, Big Sugar, and tons more, but those were my favourites. I never took my camera to any of these shows - I was nervous they would take my camera from me if I had it on me, so I left it home. In 1995, I got a media pass for EdgeFest in Toronto. There were three separate dates for that. It was a huge festival and I felt so lucky to be permitted into the photographer's pit, media-only zone, and backstage. It was pretty fun and very memorable for me. Other than at EdgeFest, I didn't photograph any bands while we were in Ontario.
When we moved back to Nova Scotia, and had three sons, I photographed everything. Our boys, indeed, have well-documented lives in both photographs and video. The boys and I would make little scripted home movies inspired by LOTR, Star Wars, and Monty Python - they were such cute boys. I cherish those movies.
I did a lot of photography over the years. In 1997 I travelled with the 78th Highlanders from The Halifax Citadel to England for the 100th anniversary of Queen Victoria's Diamond Jubilee and then to the Highland Games in New Hampshire to document performances and capture candids for the Halifax Citadel Society. Over the last decade I did lots of photography for the province's school board, Wrestling Nova Scotia, the Air Cadet League, and even some real estate photography, but no bands.
Now, our three boys are men, and they’re all musicians. The first time we went to see our oldest son's band, I brought my camera to take some photos. Standing in the audience, I was hit with a wave of nostalgia, remembering how much fun it was to stand at the edge of a stage, snapping photos just like I did in my youth. I was hooked, again. That’s how I got here with photography in the music scene, but why I stay here is for a few reasons.
First, for me, it brings me joy and lights up my brain. There is nothing that compares to the experience of live music and trying to capture ‘the’ photo. Second, for the bands and my boys. I like to think my photos might help with promotion and marketing. I hope they’ll look back on them fondly when they’re older. A habit of mine is to document everything, so I want to save the memories of my sons in these bands. When I was young, I played in bands, but I don’t have a single photo of me playing bass from that time. I want to give these artists something I never had. Lastly, taking photos has helped me heal. In April 2023, my niece Hannah passed away at
only 25 from an overdose. Her loss was crushing, and I struggled deeply with grief and guilt. But shooting these shows, being around people without the pressure to engage in deep conversation because of the loud music, helped me cope. I threw myself into the music scene, and in a way, the free photos I give to these bands are a tribute to her and a part of my healing journey. It’s not so much for this reason anymore, as I have done a lot of work to deal with my grief since her death, but she was one of the reasons I was there in the first place.
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| A young Belinda with video camera NOD: Were you always interested in photography, or did your passion for music lead you to it? |
BELINDA: Oddly enough, I started photography out of necessity. I was the editor of my high school yearbook, and I needed help getting candids of people to fill out the pages. I couldn’t find anyone with a camera to take photos around school - this was the 1980s before cell phones, and not many people owned a proper film camera. My chemistry teacher, Mr Josephson, who was also the yearbook advisor, offered to lend me his camera and showed me how to use it so I could get some candid shots around the school. He also showed me how to develop negatives and print images - we had a darkroom at my high school!
As a side note - back then, yearbook pages were designed on large sheets of grid paper. It was a meticulous, manual process. Printed glossy photos were submitted separately, each one, marked to show where it would fit in the layout. ID number, instructions like, bleed to edge, reduce 50%, that kind of thing, went with each photo. A typewriter was used to create all the captions, headers, and text, which were then printed and pasted in place. Gutters, columns, and all spacing was kept precise with my trusty pica ruler.
Headlines, and subtitles all had to be properly labeled. To learn how to manually prepare everything for the printing company, I had to attend a "yearbook camp" for a week in New Brunswick. This was in 1984, so I guess my photography journey started with Mr. Josephson trusting me with his camera.
I have to admit, though, I feel remarkably untechnical and unpolished, considering the number of photos I've taken and how many years I've had a camera in my hands. I should probably be much better than I am for the amount of time I've put in—I'm sure I've hit my 10,000 hours by now! I see photos with sleek edits and think, "I'd love to do that," but I just haven't taken the time to learn or have the patience to experiment with it. I've been into photography for so long, but I still feel like I've got so much more to figure out.
NOD: I get that. I struggle with the 'Imposter Syndrome' with my photography often. There are so many photographers out there now, and they're all doing great work - but yours really stands out to me and it's because you are doing your thing. You certainly have a distinct style and when I see a band post one of your photos online, I can tell it's yours before seeing your name posted in the credits. With that said, who or what are some of your biggest artistic influences in photography?
BELINDA: I know it might sound cliché, but Annie Leibovitz—she’s probably everyone’s inspiration, right?
I’m drawn to capturing those “off moments” that often go unnoticed—like a bassist adjusting their tuning pegs, guitar pedals scattered across the floor, bandmates chatting between songs, close-ups of tattoos, stickers on guitars, rings and jewelry, footwear, or the tangled cables. I like not just the performance itself but the raw, candid moments that surround it. If you see me at a show, you might notice I’m snapping photos during the set-up or break-down. Those off-guard moments tell a story too.
I think Annie’s photography has had a big influence on how I approach that kind of detail. There’s a photo by Annie Leibovitz of Nixon leaving the White House after his resignation, but Nixon isn’t pictured in it. Instead, she captured soldiers rolling up the carpet that he had just walked on. The helicopter hovering behind them (that Nixon had boarded on) was kicking up wind strong enough that the soldiers were holding their hats on their heads. It was a shot taken after the main event had passed - more about the moment surrounding it than the moment itself. That concept really resonates with me.
She took so many photos of the Rolling Stones that are iconic and go behind the rock’n roll glamour - the one of Mick in the robe on tour, Mick’s stitched wrist, Mick mid-air on stage, the one of Keith with smoke curling up past his weathered, deeply lined face.
In the early 1990s, my roommate gave me a photobook called Photographs by Annie Leibovitz, 1970-1990. It was a hefty, thick book with large glossy pages, and it featured that iconic photo of John and Yoko on the cover—the one where she’s laying on the carpet, and he’s naked, curled around her. It was the last photo of Lennon, taken just hours before he was shot. Such an incredible book. Unfortunately, my fish tank (which sat in the bookshelf) leaked, and it soaked several of my books, including this one. I kept the ruined book for years, even though the pages had fused together into a solid block, making it impossible to open. It was almost like a form of self-inflicted punishment—holding on to something I couldn’t fully experience anymore.
Another photographer I really admire is Mark Laita. His photography is about the human condition and he creates compelling black-and-white portraits of individuals often marginalized, overlooked, or invisible in our society. I first stumbled across his YouTube channel, Soft White Underbelly, many years ago and every single episode has me in tears. The stories are raw, aching with pain, and exposed in a way that feels both intimate and haunting. His photography is of “the unhoused, the sex worker, the chronic drug user, the runaway, the gang member, the poor and the sick”. Mark has faced a lot of controversies and criticisms being accused of exploiting the marginalized and asking people questions in interviews that could re-traumatise them. I think instead that he is bringing important social issues to light, getting people talking, and humanizing these groups of people. He ends each episode with a slow-panned head-to-toe black-and-white of the interviewee.
Other photographers I admire are Jim Marshall and Mick Rock—they were pioneers in rock photography and took some legendary shots of bands I love.
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| Big Ricky's Illegal Fireworks at Gus' Pub 2024 by Belinda Naugler Adams |
NOD: How has living and working in Halifax influenced your style and opportunities?
BELINDA: We don’t live in the city of Halifax anymore - we live in HRM, but on the edge of it. Our three boys live in Halifax now for university, but since late 1996, my husband and I have lived in a little house on the ocean with vegetable gardens, chickens, and a little sailboat out front. A show in downtown Halifax means a bit of driving for me. It’s always a late night, since I stay until the very end (it feels rude to leave early), and after the drive home, I’m usually wound up from scream-singing to my favorite tunes the whole way home and can’t sleep right away. When I get home, my husband usually has a cheese tray and white wine waiting for me, and we have a long talk about the show. He usually only goes to a show with me if one of our boys is in it.
I don’t really think of myself as working in photography. I don’t charge for anything - I do it just for the love of it. When it stops being fun, I’ll step away. To be honest, I have a hard time even calling myself a photographer. I have imposter syndrome, and feel like everyone will just laugh and say, “Hey Belinda, you’re definitely not a photographer!” I can’t bring myself to say I’m a photographer without feeling a little cringy. I look at my baby sister, Heidi Jirotka, who has multiple published books, is a staff photographer for Chapman's Ice Cream, and studied photography in school—she’s the real deal. I just snap black-and-white photos. Yes, I know I need to work on my self-esteem.
As for my style, I think it’s really been shaped by the chance I have to get up close to artists in smaller venues.
NOD: What are the biggest technical challenges of shooting live music (lighting, movement, etc.)?
BELINDA: Lighting. Lighting. Lighting. It’s always a challenge. Most venues I go to have poor lighting— blue or green floods can be tricky, but red floods are the real headache. Since skin already has a lot of red tones, red light tends to wash out all the detail. For a while, I got caught up trying to capture the light itself, but what really matters to me is capturing the emotion. That’s when I started using a flash—something I both love and hate.
NOD: Do you have a favourite type of venue or lighting setup to shoot in?
BELINDA: Not really. Every venue presents its own set of challenges, and has its own advantages. In smaller venues, lighting is often an issue—either because they haven’t invested in it or they don’t know how to make it work. In larger venues, the challenge is getting close enough to the artists to capture those tight, expressive shots that really drive me.
Lighting (or lack of it), poorly directed lighting, and busy backgrounds are constant challenges. I’ve been bugging a friend to start a business where he helps venues with live music improve their lighting setups. I’d love to do it, but I don’t have the technical skills for it. I know what works, but I wouldn’t know how to set it up.
It honestly boggles my mind why no one has done this already. Here’s my thinking: if a band is well-lit, and audience members can get great photos with their phones, they’re more likely to share them. When they share those photos, it benefits both the band and the venue. I think some photography students from NSCAD or NSCC should take this on as a project—helping local venues with their lighting setups would be an incredible way to contribute to the scene.
NOD: I couldn't agree more! I shoot with a flash on my camera but I always want to bring my portable studio lighting kit so i can set up pro stage lighting but I never bother, for fear of it being in the way of the audience and/or the performers. The likelihood of my gear getting damaged is high as well so i settle for on camera flash and get what I can. What's your essential gear kit for a concert shoot?
BELINDA: I’ve been using Fujifilm cameras since 1984, though it wasn’t a conscious choice—it just kind of fell into my lap because of my dad. He’s always been hard to shop for, and one year my mom thought she’d found the perfect Christmas gift for him: a Pentax camera with a beautiful brown leather case. She was so excited, knowing he’d love it and be totally surprised. But two days before Christmas, my dad was at a benefit and bought a ticket for a basket that included a Fujifilm camera. And, of course, he won it. My mom was beside herself, but looking back, it’s pretty funny—we still talk about it to this day. So, my dad kept the Pentax and gave me the Fujifilm camera that he won, and I’ve been using that brand ever since for the most part.
I usually carry a few lenses with me, but my go-to is my 16-80mm F4, depending on the situation. I’ve tried a few prime lenses, but they just didn’t offer the versatility I need for zooming into tight shots of faces or details. To avoid switching lenses too often during a show, I stick with my old zoom. Sure, the quality might be a little lower, but that’s not what’s most important to me. I shoot with a Fujifilm X-T5, but I always carry my old X-T10 as a backup—just in case, because I’m a bit paranoid like that. Oh, and I have a Godox flash with me too. I’m hoping to get the 50-140mm f/2.8 next. I’m excited because it’ll let me shoot from the back at festivals with the crowd in front—it will open up a whole new perspective for me.
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| Cross Dog at Gus' Pub 2024 by Belinda Naugler Adams |
BELINDA: I’m not sure everyone would agree that I’m unobtrusive, but I do try. I wear all black, do a lot of low squatting, and move around a lot to avoid blocking the same group for the whole show. I’m 5’2” (and think I have been shrinking!) so I need to be in the front row unless I’m shooting through elbows.
The thing is, I have long silver hair, and it tends to draw attention. When I watch videos of bands and see my head pop up in the foreground, I cringe a bit, worried I’ve ruined the shot. My hair makes me so recognizable, so there’s no pretending it’s someone else! I’ll admit, though, sometimes I get so absorbed in what I’m seeing through the lens that I’ll lean across the stage without realizing how far I’ve stretched. I feel a bit embarrassed about it, and I hope musicians can forgive me for that! (lol)
NOD: Do you shoot mostly digital, or do you experiment with film as well?
BELINDA: All digital. I haven't shot film since 2004 or 2005, when I got my first digital camera. It took me a bit to go digital, but I took so many photos that it was costing a small fortune to get prints developed because I was taking them to the shop. I see film cameras all the time at shows; I respect that so much, but I'm just a mirrorless digital gal nowadays.
NOD: How would you describe the concert photography scene in Halifax? Is it collaborative or competitive?
BELINDA: I can't speak for how other photographers feel, but I definitely feel a sense of kinship with anyone I see with a camera. If there's time before a show, I always make it a point to approach any new photographers, introduce myself, learn a bit about them, and connect. I enjoy following their work on social media to see the shots they capture at the show. I also have my photographer friends who I know I’ll run into at certain shows, and I always look forward to catching up with them.
There are so many talented photographers in Halifax shooting the local music scene in small venues right now—Josh Lavoie, Trevor Savory, Megan Currie, Dylan Allan, Evan Purney, Darcy Walsh, Sam Turpin, and Geoff Walker, to name just a few - I know that I am forgetting some that I will remember as soon as this interview is printed! Then there are photographers from adjacent scenes, like McKenzie Power, Wyatt Gallant, and Amelia Bailey, whose paths I often cross online. I want to take a moment to recognize these amazing photographers.
Sometimes, I’ll see a photo pop up in my Instagram feed and know exactly who shot it before I even check. Megan’s photography has this dreamy, artsy feel, often incorporating all kinds of unique elements and layering. Evan's photos are filled with chaos and energy - he is a pro at capturing moods. Trevor’s photos always come out sharp, polished, magazine-quality - he was one of the first people I connected with on the scene a few years ago.
One of my closest photography buddies is Josh Lavoie. We share a lot of similar tastes and seem to end up at the same shows. Josh has this incredible knack for capturing crazy action with wide angles. I take 1,000 shots for every one he does—he must shoot 100%. And he has this incredible fast turn around. He will sometimes have photos from a show posted before I even get home. Recently, he borrowed a wide angle lens from a friend, and his photos have just reached another level.
We all have our own unique styles, and it’s fun to see how we can be at the same show but end up with such different photos. Sometimes, our moments overlap, but for the most part, we each capture our own micro-moments and emotions. We’re all so different, and there’s room for everyone.
I can see how it might be competitive for people trying to make a living from photography, but I’m not in that game. For me, this is all about fun. I refuse to be competitive over it - it would ruin the experience, and I don’t want that.
NOD: I absolutely agree Belinda. You can give 100 people cameras and one subject to photograph, and you'll get 100 different photos in return. I love that! I'm pretty shy/anxious so I don't often introduce myself to other photographers while shooting a gig but I love to watch them shoot and i always try my best to not be in their way/move to another area of the stage when they move to where I am.
What are some of the most memorable shows or artists you've photographed in HRM?
BELINDA: Photographing my sons' bands is always the most exciting for me because, well, they’re my kids! My heart races as I watch them perform—I want everything to go perfectly. I hope the show is a hit, with the audience engaged, cheering, and vibing. I want my boys to enjoy every moment, for the songs to flow smoothly with no technical hiccups, and for them to feel proud of what they’re creating. I want a full crowd to show up. You know, all the typical “mom” things you wish for your kids. I’m just so incredibly proud of them.
My son, Nick, plays bass in Customer Service, and my nephew Owen is also in that band as their drummer. Nick also plays bass in Bill Ricky. My middle son, Will, plays drums in Bologna Colorado. So, I’m lucky enough to get to see those three bands regularly. The best part is that each band is uniquely different musically from the other, so it keeps things fresh and exciting for me. Our youngest, Thomas, is a talented musician as well, but doesn’t play in a band.
Photographing the Sheepdogs at The Shore Club was definitely thrilling, but what made it even more special was that the band joined us for a sail on our boat the day after the show! My husband invited them, and to our amazement, they said yes. Our sail ended up being featured in a short film they made about Nova Scotia called An East Coast Poem.
So many bands are memorable to me, but in small, meaningful ways. Sometimes it’s the little things—a sticker on a guitar, a tattoo, or a few standout lyrics in a song—that stay with me and make the experience truly special. For example, there is this song called The Chair, I heard a band play at Gus,’ and in it, the singer tells a story about her landlord throwing out an old rocking chair that had belonged to her mother. As the song goes on, you realize she lost her mom as a child, and that chair was the last tangible piece of her mother and her childhood. Those lyrics haunt me. I just want to take that girl home, make her some hot chocolate, wrap her in blankets,
read to her, and make her feel safe.
A few musicians have reached out to me for life advice and the first time it happened, I was both surprised and honored. But now, it’s happened a few times and I’m always open to offering whatever I can – after all these years, if I don’t have some wisdom to share, what do I really have to offer?
I don’t think my advice is anything extraordinary, but that many of these artists are very young, and I’ve lived long enough to have a perspective they might not have yet. I just want to help and heal. If I had a ton of money, I’d probably spend it all on buying gear, tour vans, recording time, or whatever else these artists need. But having too much money is not a problem I have … sadly.
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| Belinda Naugler Adams |
NOD: There is an incredibly massive pool of talented musicians in the area! And I love that you want to help these young artists out. I have said countless times, 'If I was to win the lottery I would build a recording studio and an All Ages music venue'.
Are there any local venues (like The Marquee, The Seahorse, or Gus' Pub) that you particularly enjoy shooting at?
BELINDA: I really love the smaller places – The Seahorse, Gus’, The Marquee, Bus Stop, Radstorm – those intimate, cozy venues. I haven’t had much experience with the larger venues, so I can’t speak to that. But what really draws me in is capturing moody black-and-white shots from these smaller spots.
There’s something about the timeless, raw, and unpolished feel that appeals to me. It’s like the photo could have been taken in the 1950s at the Cavern, in the ‘70s at CBGB’s, or in the 2020s at Gus' Pub. That kind of energy, that vibe, is what really speaks to me.
Black-and-white photos can create a sense of abstraction, making the familiar appear unfamiliar and make you see things differently. Taking away the color cuts out the noise and helps you see just the core, the real basics of what’s there. I just love it! My band photography is almost always black-and-white except for a special coloured one here and there.
NOD: What's your process like when working with musicians or event
BELINDA: I just reach out directly to the band, or to a promoter if it’s a showcase. It’s all pretty casual and laid-back. I think part of the ease comes from the fact that there’s no money involved, so there are no expectations on either side. I’m often at the same venues over and over, so people start to recognize me. I kind of feel like Norm from Cheers sometimes when I walk into a place. It feels pretty good.
The more you watch a band, the more you start to pick up on their little rituals and habits during their performances that can help when photographing them. For example, Matt and Nick from Customer Service do a synchronized high kick if there’s enough room on stage. Matt, Nick, and Max do synchronized guitar flourishes - they have great band chemistry. Max usually jumps at certain parts of a song. I can feel it coming, he’ll move around and do a few little practice jumps, scan around to ensure that he won’t land on anything, and I’ll get ready... but I STILL usually miss the shot when he jumps. I catch him on the way up and coming down, but one of these days, I’ll get that perfect moment!
Sara from Skunk Motel has this pose where she bends toward the audience over the edge of the stage with her legs staggered for balance. I love getting close to the stage and shooting up at her when she strikes that pose—she’s absolutely stunning, both inside and out. What makes her even more beautiful is that she has no idea just how beautiful she is. It's that humility that makes her even more captivating.
Kate, also of Skunk Motel, has the best guitar faces. She scrunches her face up while playing, and then, when she releases the tension, her expression softens into this smooth, dewy, almost innocent look. It’s a reminder of how young she is and how much she’s already accomplished musically—just lovely.
Donald and Justin, from Human Missile Crisis, have these sweet moments where they rest their heads on each other’s shoulders during the show’s instrumental parts. Despite all their tattoos and the intense, intimidating looks they have, they’re really such sweet, genuine guys.
Cole Chalifaux, from Bologna Colorado, is such a joy to photograph. He really throws himself into his guitar playing, and the camera just loves him. He’s got this stunning bone structure that he can thank his parents for, and there's a tattoo on his cheek right under his eye that adds so much character—it’s part of what makes Cole Cole. He’s incredibly expressive, and you can see how deeply he gets lost in the moment while performing. He’s definitely one of my favorite subjects to capture.
Bands like Pinot Gringo and I Dialed Your Number have these dynamic front singers who will sometimes end up on the floor, with band members rushing into the crowd with their instruments. I just wait for those perfect moments, hoping to capture a shot that really works.
Spirit of the Wild Fire does these coordinated jumps over and over where the entire front row is in the air at the same time. I’m always amazed by how physically demanding that must be for them, but they make it look effortless.
Loviet does these incredible backbends where she drops back all the way to the floor, her long hair cascading across the stage, and she’s still hitting every note. It’s amazing to watch her maintain perfect control while fully committing to that movement and then somehow pulling out of it to standing again.
Aidan, from Pavel Stroke, was another one of my favorites to photograph - I say "was" because, sadly, the band isn’t together anymore. (Although I just heard a rumour that they were back together - so I’m not sure about the band status!) Aidan was always full of surprises. He would end up swinging from ceiling beams, standing on railings, or crawling up large amps. You never knew what to expect from him. At the show I would scout the stage area to predict where he might climb, so I could claim the spot I needed to be for the shot. I miss that band. I’ll never forget the time he shimmed across a ceiling beam at The Seahorse, right over the audience. To this day, I still don’t understand how he managed to hold on. Every now and then, I’ll look up at that beam and remember that show with a mix of awe and disbelief.
Oh, Pale Ache’s show at the Seahorse was probably the most insane show I’ve ever seen in Halifax. There were bloody noses everywhere, a ton of people rushed the stage at one point, and stage diving was constant—it was pure chaos, and so much fun! Unfortunately, my husband got caught in the mosh pit and ended up breaking his nose and cracking his cheekbone. He’s such a stoic guy though that we didn’t know for sure that anything was broken until 10 days later when he got X-rays. That was the only show I’ve ever been to where I felt a little scared. There were moments when things teetered on the edge of completely spiraling out of control—the crowd was surging and rolling like one giant organism, and if something had gone wrong, there’d have been nothing anyone could do about it. I’ve never been in a riot, but I imagine it felt something like that. That said, the show was fantastic, and even though I was a little scared at times, it was the kind of excited, adrenaline-fueled fear that comes with something truly unforgettable. None of the photos I took that night truly capture what that show was like at the stage’s edge - not even close. It was one of those, you have to be there to truly understand shows.
Although I don’t receive specific direction, attending a few shows gives me a sense of what to expect from the band. Over time, you start to learn the rhythms and patterns of their performance. It’s like you can anticipate what’s coming next, and try to be ready for those moments when they happen on stage.
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| L - R Kate bo of Skunk Motel, Pale Ache, Jesse of idialedyournumber all by Belinda Naugler Adams |
NOD: Fantastic descriptors of these bands and their performances Belinda! Have you ever had an artist or band request a specific style or mood for their photos?
BELINDA: Not really. I guess it's pretty well-known that I'm the one who gravitates toward black-and-white photography. I've been asked to take photos many times, but I’ve never really received much guidance. I think people just trust me, which is a really nice feeling. I always make sure the photos I share of a show are flattering, and I believe that’s helped me build trust with the scene over time.
NOD: How do you navigate copyright and usage rights when your photos are used by bands, promoters, or media?
BELINDA: I always reach out to the band before I photograph them, even if I’ve worked with them before, just to make sure it’s okay. I think it’s rude to jump in and shove a camera in someone’s face without asking first, so I like to get permission, even if it is renewed. Even when it comes to my sons’ bands, I ask for renewed permission every time. I see my photos as a gift to the band, so I always hand them over and let them use them however they’d like—whether it’s for their promoters, media, or anything else. I just ask to be credited as the photographer whenever possible. I also share them on my own Instagram, but that’s the extent of it.
It stings when I see my photos used without credit—okay, it actually stings a lot. Maybe I’m a bit sensitive, but I’ve given my time, energy, and work for free. It also bothers me when I see my friends’ work shared without recognition. Still, I hope the bands remember me when they hit it big—and save me a backstage pass to their stadium show!
NOD: I totally get that. I also do this for free and always am a bit miffed when credit isn't given for the work I've done. I also can't stand Instagram! Lol! How I crop all my images to fit Instagram but once a band shares them in carousel-style and mix portrait orientation with landscape orientation, the portrait size gets cropped, and cuts off my very tiny watermark, which is annoying to add to the photo anyway, but I do it to ensure credit is given, incase the band forgets to tag/credit me. Lol... first world problems!
What’s the most unexpected or difficult situation you’ve faced while shooting a concert?
BELINDA: There’s not one specific thing, but low light can be a real challenge. However, there are some things I wish I could tell bands that would help make their photos even better. Part of me wants to give them advice, but I don’t want them to feel like they need to perform for ‘me’, you know? I don’t want them focusing on the camera so much that they lose focus on their performance for the paying audience/fans. Still, I can’t help but notice things that could help create great photos.
For instance, unused mic stands on stage can really get in the way. They block shots and cast shadows for no reason. If a band member is only using a mic for a few lines of one song, consider sharing one mic throughout the show (if the singers are the same height). If you strike a pose, like putting your foot on the monitor or something, try to hold it for a bit so we have time to focus and get the shot. Engaging with the audience is key for special photos—whether it’s smiling, pointing, scowling, or making eye contact. Don't be afraid to show some personality! If something goes wrong during the show, don’t panic! 99% of the people didn’t even notice, trust me. Try to create standout moments—like synchronized jumps, big singalongs, or anything that feels spontaneous and exciting.
And if you have merch, don't be shy about telling the audience. There's no shame in promoting your stuff. If you’re on a multi-band bill, stay and support the other acts—don’t just leave after you play. Encourage the audience to move up closer to the stage, introduce your band members, watch other local bands for inspiration, like Andre and the Giants—they bring the energy with tons of movement, kicks, and jumps, and Andre knows how to entertain a crowd.
I know I might sound a bit bossy, and honestly, it’s none of my business how bands perform or stage their shows—they should absolutely do what feels right to them and sorry if anyone is offended by me putting out these suggestions but I think these little things are worth considering because they can make a big difference in how the performance comes across, both for the audience and in photos. Sorry, I kind of wandered off-topic there!
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| Electric Spoonful at Gus' Pub by Belinda Naugler Adams |
NOD: I think constructive criticism is so valuable! When I was growing up, playing in bands, I would always ask someone from another band on the bill how we were, what could we do better, etc. Not many gave legit feedback - mostly comments like 'you guys were tight' or 'awesome'... stuff like that. PJ, of Monoxides, Iron Giant, Which Witch is Which fame, gave me the most valuable feedback I've ever received and it helped me improve my song writing tremendously!
On the flip side, what's been your most rewarding experience as a concert photographer?
BELINDA: Every time I see a band share my photos, I can’t help but reshare them if I’m tagged, mentioned, or credited. It’s partly to promote the band, and partly because it’s such a thrill to see my work being used. Right now, I live for that! When I see an artist change their profile picture to one of my photos, use them as headers on streaming platforms, use them on posters, or in their videos/reels, it never gets old. It makes me feel happy knowing they were happy enough with the photos to use them. Last year, Classified used a bunch of my photos on a tour poster. My little sister is his biggest fan, so seeing how proud it made her, made me proud in turn.
Being accepted, trusted, and included in the music scene, especially despite my age, has meant so much to me. I’ve been brought into the fold and I am grateful for that. Last year, Evan Wiseman reached out and asked me to be part of his project, Inside the Scene, which promotes local music. I was deeply touched that he thought of me and I’m really proud to be a part of the team.
I feel a unique connection with every artist I photograph. There's something powerful about witnessing those raw, unguarded moments on stage through a lens —fleeting expressions of vulnerability and emotion that define the moment. It's a privilege I never take for granted, and I’m deeply grateful to everyone who has trusted me and given me permission to photograph them. The music scene here is full of so much talent. There are so many Halifax bands that are just as good, if not better, than some of the most well-known acts out there. The only difference is exposure—being in the right place at the right time and having the right people notice you. I listen to bands on Spotify with millions of monthly listeners and think, 'wow, this local band I just saw is so much better'.
NOD: I agree! It's the whole reason I started doing this 'zine - to try and help the talent on the East Coast of Canada get recognized. So many touring bands that come to Canada think the East Coast stops at Montreal. We've lost a huge connection we once had to the 'outside world' with MuchEast so, now, more than ever, the work you are doing, and so many others, like Darcy's East Coast DNA podcast as just one example, are doing their best to get the world to see this talent. You shoot so many shows, do you ever face burnout from shooting so many shows? How do you keep your work fresh?
BELINDA: No burnout—at least not yet. There are moments when I wish I lived in Halifax so I could easily pop out to shows without the drive, but when summer rolls around, I feel so fortunate to live in a little house by the ocean. The different vibes of each show provide new inspiration. It’s a good balance that keeps me excited to keep shooting.
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| The Orchids' Alexis Grant by Belinda Naugler Adams |
NOD: What advice would you give to aspiring concert photographers in Halifax?
BELINDA: Be respectful and check in with the bands to make sure they’re comfortable with you taking photos before you start. Make sure your batteries are charged and your cards are empty (if you're shooting digital)—you don't want to be scrambling in the middle of a
show in the dark trying to find a spare camera card.
Try different angles, move around the stage, and experiment. Don't worry about getting the perfect shot right away—just keep trying and keep learning. Get to know the local bands and venues. Keep shooting, and most importantly, don’t compare your work to others. It’s easy to fall into the trap of mimicking someone else's style, but your unique perspective is what will make your photos stand out. Share your work online and connect with other photographers—hey, reach out to me! I’d be happy to hang out with you at a show.
Also, be kind to yourself. (Look who’s talking, right?) Concert photography is challenging. You can’t control the lighting, you can’t tell the band where to stand, and there’s always a crowd around you so you usually can’t stand ‘exactly’ where you would like to. It’s hard to find the perfect spot to shoot without blocking the audience or distracting the artists. It’s a delicate dance. That’s why I think a sharp photo with decent exposure that tells a story is a huge win in this environment.
I remember a photographer, once telling me that when he looks at his early work, it makes him cringe. I didn’t understand what he meant at the time, but now I totally get it. As you gain experience in this environment, you just get better with time.
A few final tips: Keep checking your settings while shooting—it’s easy to accidentally knock a dial or setting and ruin an entire shoot (I’ve learned this the hard way - A FEW TIMES!). And protect your hearing—wear earplugs! You never know when you’ll end up with your ear pressed up against a speaker, and it happens more often than you would think in small venues.
NOD: Are there any artists or festivals you dream of photographing in the future?
BELINDA: I’d love to go on tour with a band someday—especially a big tour, maybe through Europe, Asia, or even Australia, since so many of my favorite punk bands are from there, but that is definitely a ridiculously big pie-in-the-sky dream. A tour of any kind really - just for the
experience. (Skunk Motel? Loviet? The Boojums? The Orchids? Electric Spoonful? Are you
reading this?)
NOD: Do you have any upcoming projects or exhibitions where people can see your work?
BELINDA: No, I just post my photos on Instagram, and the bands are free to use them however they like. I’d be open to more formal opportunities, but I don’t think I’m quite at that level yet. It could be fun, though, to team up with some other local photographers and put together a show where each of us has a little space to promote local music.
If I may, I’d like to plug two projects in the community that are really worth promoting. First, The Halifax Pavilion. This project has been promoting all-ages shows in Halifax since 1998, giving young musicians a platform to perform and making live music accessible to underage audiences. Even though The Pavilion’s physical venue closed in 2014, its spirit lives on—carrying forward the inclusive, vibrant community it helped build. Younger bands bring fresh perspectives and play a vital role in keeping the music scene alive and evolving.
I was recently at a show at the Bus Stop, organized by The Pavilion, and I saw this young boy—maybe around 10 (11?) years old in the audience —watching with wide eyes, leaning forward in his shoes, fully immersed in the moment. At the end of the set, the guitarist was laying on the floor, face down, and I looked over to the boy and he was looking so intense. I couldn't help but wonder how this moment looked to him - synapses firing in his brain. I wondered what he was seeing through his eyes compared to what I was seeing through mine. The Pavilion is making moments like this possible, and we should all do our part to support them. The Pavilion’s president, CJ Hill, has been instrumental in sustaining the legacy of The Pavilion. He is one of the unsung heroes who is making stuff happen in the local music scene. The Halifax Pavilion
The second project I want to highlight is Food For The Ears. This fantastic initiative is led by Ethan Chitty, and it's a music festival raising money for Feed Nova Scotia. Ethan started this project when he was just 16 years old! The last festival in April 2025, held at the Lighthouse, left me so impressed by how well-organized it was. Ethan has built a tight-knit community of friends, supporters, and involved family members who help bring it all to life. I’m excited to see where this festival goes as it gains more recognition and support.
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| "The Crowd" at Gus' Pub by Belinda Naugler Adams |
NOD: If you could only shoot one Halifax-based artist/band for the rest of your career, who would it be and why?
BELINDA: Oh - I honestly want to photograph them all! I could never pick just one! Every Halifax band brings something unique to the stage, but if you forced me to choose—like, under threat of death—I’d have to say my boys’ bands. There’s just something incredibly special about watching someone you love doing what they’re passionate about, and being able to document it is a privilege.
NOD: Do you have a favorite music genre to photograph, or do you love the variety?
BELINDA: I do have a special place in my heart for punk, grunge, metal, and anything with intense bass-heavy riffs and raw, emotional vocals. That's the kind of music I vibe with when I'm driving or at home. I think that most people look at me and would be surprised how heavy I like my music. I also love classic blues, alternative rock and proto-metal, but when it comes to photographing shows, I really love the variety. It’s less about the genre for me and more about the live experience. What truly excites me is a performer who is fully immersed in their passion, someone who's not afraid to express themselves authentically on stage. That’s the kind of energy I love capturing. I don’t worry too much about the technical side of things like perfect lighting or focus; for me, it’s all about the real moments on stage.
NOD: Outside of photography, what's something people might be surprised to learn about you?
BELINDA: Here's something people might be surprised to know: I used to race horses, specifically in barrel racing and pole bending. I’ve got boxes of trophies and ribbons to prove I was pretty good at it!
As a kid, I didn’t have a bike – I had a pony. My cousin and I would race around the neighborhood, her on her bike and me on my pony. I used to envy her bike so much. It wasn't until I was an adult that I realized how amazing it was to have a pony. Sometimes, all it takes is a little distance to see things from a new perspective.
I volunteer with nine not-for-profit organizations, which is something I'm really passionate about. My favourites? I have been a part of kiva.org since 2004. I have made 160 micro loans since then, mostly to females in the agricultural sector. My sister and I started a project called No Matter What Happens, where we help bring recovery seminars to communities across Canada with live-experience speakers, live musical guests, and resources to those in recovery from trauma, mental illness, and addiction, whether it be someone in recovery or people who are supporting someone in recovery. It is a project we started in memory of our niece - she would be so damn proud, and that helps my heart when I think about her death.
Another cool fact is that my husband and I got married on a boat - The Harbour Queen. Our wedding reception was a 4-hour cruise – we always joked that none of our guests could leave early! I wore a red velvet wedding dress for the occasion, which was a bit of a scandal at the time. I also made my own wedding dress, and even though it was my first sewing project, it actually turned out really well – surprising everyone! My father-in-law made 200 bottles of homemade wine for the event, and yes, it was tasty. My little sister, who was my maid of honour, had a laughing fit during the ceremony. And in a funny twist, my mom insisted that the judge remove the phrase 'to obey' from the vows because, when my dad teases her, he always reminds her that she promised to obey him – so she didn’t want that for me. The band at the wedding was Joe Murphy and the Water Street Blues Band, and as a wedding present, Joe gave my husband an autographed CD. The next day, my husband returned his tux with the CD in the pocket – and then it disappeared! So I never got to actually see it. How's that for too much detail?
When I was 17, my jazz band had the honor of playing for Princess Diana and Prince (now King) Charles.
Oh, and in my 'real' world, I'm a web designer. I’ve been designing websites since the early days of the internet, back when everything was pure HTML-based.
In my early 50s, I had the incredible experience of being part of the musical Rock of Ages—I played bass in the on-stage band for the entire show. I memorized the whole score, which was no small feat! Funny enough, I almost didn’t do it. I was hesitant at first, but my husband talked me into it, and I’m so glad he did. It was challenging, for sure, but also one of the most rewarding and fulfilling things I’ve done for myself since our boys grew up. We had six sold-out shows, and it was an absolute blast! How’s that for TMI? lol
And once again, thank you, Jacob, for this interview. It’s been a lot of fun!
Please, if you are not already following Belinda on Instagram, give her a follow. If you see her out at a gig, give her a fist bump or a high five, she is definitely a treasure to the Halifax music scene!
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| Hush Metal at Woodside Tavern by Belinda Naugler Adams |
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