Stephen Brownlee 7/30/25 Stephen Brownlee 7/30/25

Between the Notes: Where Boudoir Met Me

When people ask what kind of photographer I am, I say music photographer—and I mean that. Live music is where my passion lives. It’s where I started, and it’s where I’ve grown the most. But to tell the full truth, I have to admit that for a brief moment, I almost took a detour.

That detour was boudoir photography.

My journey into photography began with the music scene. I was fascinated by the challenge of capturing split-second moments on stage—the intensity, the movement, the unpredictable lighting, the sweat, and the connection between artist and audience. There’s something raw and powerful about it, something that feels alive in a way few other things do. Every show felt like a story unfolding in real time. I wasn’t just documenting a performance—I was freezing emotion, translating energy into still images. Music photography gave me a creative purpose and a clear direction.

But like most creatives, I stayed curious.

Somewhere along the way, I began thinking more deeply about portraiture and eventually found myself exploring the world of boudoir. At first, it was just something I was quietly drawn to. I wasn’t sure what would come of it, but the idea stuck with me.

Boudoir, when done right, is far more than “sexy photos.” It’s about vulnerability, power, and self-acceptance. It’s about showing up as you are—and learning to see yourself with new eyes. For many people, it’s an emotional milestone. I saw a unique opportunity to create portraits that helped people feel proud of who they are in this moment, especially in the world of fitness boudoir where the progress and discipline behind the body are part of the story.

I started researching. I practiced lighting with intention. I studied posing, the psychology of body confidence, and how to foster trust and safety during a shoot. I even started sketching out how I might build a branch of my photography business around boudoir work. It was exciting. It was meaningful. And yet… music kept pulling me back.

A new show would come up. A band I loved would come through town. I’d find myself back in a photo pit, camera in hand, adrenaline high, completely locked in. Every time I tried to shift focus, live music reminded me of where I feel most at home. The truth is, as much as I respect and appreciate boudoir as a powerful form of portraiture, music photography is where I feel most alive. So I followed that feeling. And I haven’t looked back.

But I also haven’t forgotten what boudoir taught me.

Josie Azocar and Arii Delgado, Instagrams: @josieazocar and @ariannadelgado

Even though I didn’t pursue boudoir full-time, the skills and lessons I picked up along the way became part of how I shoot, especially when I work one-on-one with artists or shoot backstage portraits. Boudoir taught me how to slow down and listen—to notice the energy someone brings into a shoot and to guide them in a way that makes them feel safe, respected, and seen. That same approach helps me connect with artists and clients of all kinds, especially when emotions are high before or after a performance.

In boudoir, every pose, every hand placement, every small shift in expression counts. That attention to subtlety has made me a more observant photographer, especially in moments when the story is happening between the big stage gestures. Boudoir also taught me to shape light with intention—to highlight strength, softness, emotion, and mood. I use those same lighting principles now when I’m editing or adjusting for tricky stage conditions. And maybe most importantly, I learned that confidence is a collaboration. A lot of people think confidence comes before the photo—but I’ve found it often comes during the shoot. Whether someone’s in lingerie or holding a guitar, how I show up as a photographer influences how they see themselves. That’s a responsibility I take seriously.

In the end, I didn’t walk away from boudoir because it didn’t matter. I walked away because music just mattered more. It’s where I’m meant to be. It’s where I create with instinct and joy. Still, I’m grateful for the time I spent learning about boudoir photography. It helped me grow. It helped me see people differently. And it sharpened skills I use every time I step behind the camera.

Who knows? Maybe down the road, I’ll revisit boudoir in a more intentional way.

But for now, I’m chasing the music—and I’m not slowing down.

Stephen Brownlee 7/23/25 Stephen Brownlee 7/23/25

Hansel, the Lodge Room’s Gentle Guardian: A Tribute

It’s rare that a dog becomes part of the heart and soul of a music venue, but Hansel was exactly that—a beloved fixture who brought warmth and comfort to the Lodge Room in Highland Park for several years.

Hansel was one of the trio known as the “Lodge Room Dogs,” a set of furry friends who made the venue feel more like home to everyone who walked through its doors. But Hansel had something special—an unmistakable presence that made him stand out, especially to those of us who love dogs, and golden retrievers in particular.

The first time I met Hansel was back in 2022 when I arrived to shoot a show by !!! (Chk Chk Chk). Amid the chaos of setting up gear and the buzz of soundchecks, Hansel greeted me with his big smile and gentle spirit. In that moment, his friendly presence was the best thing about the entire night. It was a small, quiet moment of calm that left a lasting impression. I may have only met him a couple of times, but as a dog lover, that brief encounter meant a lot.

Hansel’s owner, Julian Weiss, shared on Instagram that Hansel had recently been treated for an obstruction, a condition that seemed to be improving, only for it to rupture and lead to sepsis. The news of his passing came suddenly and hit hard. Even though I only crossed paths with Hansel a few times, hearing of his loss felt personal.

What made Hansel so much more than “just a dog” was the way he became part of the Lodge Room’s identity. In a venue built on energy, loud music, and ever-changing faces, Hansel was a grounding force—a calm, reassuring presence who reminded everyone that this place was more than just a stage. It was community. It was home. It was a gathering place where people and music and life intertwined, with Hansel quietly at the center of it all.

For photographers, musicians, staff, and fans alike, Hansel was an unspoken fixture of those nights—a soul who embodied the welcoming spirit of the Lodge Room. His legacy is one of comfort, loyalty, and the kind of quiet companionship that goes unnoticed until it’s gone.

To Julian and the whole Lodge Room family, thank you for sharing Hansel with all of us. His paws may no longer walk through the venue, but his spirit and the memories he gave us remain. He mattered deeply, and he will be remembered fondly.

Rest easy, Hansel. You were truly one of the good ones, and you will be missed.

Stephen Brownlee 7/16/25 Stephen Brownlee 7/16/25

No Rules, No Roadmap, Just Grit: My First 3 Years in Music Photography

My first night as a music photographer. May 10th, 2022

White on stage, ripping through a set of bluesy distortion and manic energy—and I’m floored. I don’t know it yet, but something permanent is about to shift inside me.

One year earlier, I had picked up a camera for the very first time. I wasn’t thinking about music photography then. Honestly, I wasn’t even thinking about photography as a path at all. I had a connection—a professional drag queen—who needed photos. So I borrowed a camera, showed up, and started snapping candids in black and white. Their friends became my subjects. I didn’t know what I was doing, but somehow, I had a natural feel for it. For the angles. For the light. For the moments in between.

Day One with Bella Farrow, Instagram: @bellafarrow75

That small taste of creativity stuck with me, even when I didn’t have a clear direction. It wasn’t until that Jack White show—surrounded by flashing lights, pounding drums, and the unfiltered pulse of a crowd—that I realized: This is what I want to capture. This is what I want to do with a camera.

I didn’t wait. I found a used DSLR, slapped on a 24–70mm lens, and just started. No formal training. No mentorship. No access. Just instinct, curiosity, and YouTube tutorials late into the night.

My first official night in the pit—or close enough to call it one—was May 10, 2022. I reached out to a local band, French Mouth, who were playing at a bar in Hollywood called Harvard and Stone. I messaged them on social media, asked if I could come shoot their set, and to my surprise, they said yes. That night was gritty, sweaty, unfiltered—and it felt electric. I was hooked.

That summer, I started building my own path. I shot whoever would let me. I cold messaged bands on Instagram and DM’d local venues. I found myself in corners of LA like Zebulon, The Troubadour, and The Roxy, camera in hand, learning as I went. I had no idea what “three songs, no flash” meant until I was already in the thick of it. I blew a lot of shots. I got lucky with a few. But with each show, I got a little better. A little faster. A little more confident.

By the end of 2022, I wasn’t just practicing—I was evolving.

Then 2023 hit, and that’s when everything started to accelerate.

I linked up with Get Some Magazine, and that gave me my first real platform. Suddenly, I wasn’t just hustling on my own—I was part of something. My first official assignment with them was Better Lovers at The Roxy. It was wild. Sweaty crowds, flying limbs, unpredictable lighting—everything I had been craving and more. I thrived in the chaos. The kind of chaos that would throw someone off if they weren’t ready. But I was ready.

Better Lovers at The Roxy, 2022 for Get Some Magazine

From there, it snowballed. I started covering larger bands—Ice Nine Kills, Megadeth, Marilyn Manson, Pierce the Veil, Sleeping with Sirens, and more. My access grew, but so did my expectations of myself. I didn’t just want clean shots. I wanted storytelling. I wanted my images to feel like the music sounded.

Every show became an opportunity to refine my instincts, sharpen my eye, and push myself creatively. I stopped relying on luck and started trusting my timing. I started treating every pit like it mattered—because to me, it does.

Now, three years in, I’ve got one of the biggest personal milestones ahead: photographing Bush, a band I’ve loved for years. That moment will be a full-circle reminder of how far I’ve come—and how far I want to go

This world is filled with talented photographers. Some have formal training. Some have deep connections. Some grew up backstage. I didn’t have any of that.

What I had was a borrowed camera and a stubborn determination to figure it all out from scratch.

I didn’t go to school for this. I didn’t have a mentor showing me the ropes. I learned by shooting in unpredictable lighting, dealing with harsh LED colors, getting bumped in tiny photo pits, and staying up till 3 AM editing and re-editing the same set until it looked how I felt it should look.

I’ve built this with no safety net, no shortcuts, and no handouts. Just hustle, love for the music, and a camera that I’m still learning to master every single week.

And I’m not done yet.

The next chapter is about growth.

I want to shoot festivals. I want to go on tour. I want to expand into promo shoots, portraits, and commercial photography within the music industry. I want my camera to be my full-time tool—on the road, backstage, in studios, and in pits around the world.

This blog is where I’m documenting that transition. Every week, I’ll be showing the real work behind the scenes—what I’m shooting, what I’m learning, and what it actually takes to go from self-taught photographer to full-time visual artist in the music world.

If you’re reading this, thanks for being part of the ride.

I’m Stephen Brownlee.
And I’m just getting started.

Stephen Brownlee 11/10/24 Stephen Brownlee 11/10/24

A Night with Julian Wasser: "L.A. Confidential" at Morrison Hotel Gallery

On Thursday, November 7th, 2024, the Sunset Marquis Hotel in West Hollywood played host to a special opening reception exhibition titled Julian Wasser: L.A. Confidential, presented by Morrison Hotel Gallery. The exhibition is a celebration of Julian Wasser’s illustrious career as one of the most iconic photographers of the 20th century. Known for his candid, intimate shots of Hollywood’s elite, Wasser’s images offer a rare glimpse into the glamour, grit, and humanity of Los Angeles during its golden age. The exhibit features a stunning array of portraits and behind-the-scenes moments from his career. As I walked through the gallery, each photograph felt like a time machine, transporting me straight to the heart of the L.A. scene in the 1960s and '70s.

Standout Moments:

Among the many striking images on display, a few stood out to me for their rawness and energy. The first was a candid close-up of Marilyn Monroe at the 1962 Golden Globe Awards. The actress is captured mid-applause, her hands lifted in graceful motion, as if caught in a spontaneous moment of admiration. The image exudes a sense of effortless charm, with Monroe's expression both joyful and natural, as though she’s simply reacting to the moment around her.

In this striking candid shot of Steve McQueen, the actor is captured in a moment of cool detachment, wearing dark sunglasses and exhaling a plume of cigarette smoke. The image perfectly embodies McQueen's effortless charisma, with his intense gaze partially obscured by the shades, adding an air of mystery to his already iconic rebellious persona. The smoke swirling around him adds to the sense of quiet intensity, enhancing the raw, untamed energy that McQueen often exuded both on and off the screen. The simplicity of the moment, paired with his unmistakable style, captures the essence of McQueen as the ultimate anti-hero of 1960s cinema.

In this playful and layered candid photograph, the viewer is presented with a fascinating moment of meta-photography: Andy Warhol, the quintessential pop artist, is seen taking a photo of Deborah Harry, the iconic lead singer of Blondie. In the foreground, Wasser himself captures this exchange, creating a visual loop of artists and subjects. Warhol, ever the enigmatic figure, is focused through the lens, while Harry strikes a relaxed pose, her platinum blonde hair framing her face in a subtle nod to her rock-and-roll persona. The photograph stands as both a document of the moment and a commentary on the intersection of fame, art, and photography itself.

The Evening and the Guests:

The opening night was a star-studded affair with several notable guests in attendance, including Alison Martino of Vintage Los Angeles, legendary DJ Rodney Bingenheimer, Chris Carter of Dramarama, writer Larry Karaszewski and Julian Wasser’s daughter, Alexi Wasser. Their presence added an extra layer of excitement to the evening, with many sharing stories and memories of Wasser’s work over the years.

If you haven’t seen the exhibition yet, there’s still time to take it in. The exhibit is open until November 21st, 2024, and a select collection of Wasser’s most iconic images are also available for viewing and purchase online at MorrisonHotelGallery.com. Julian Wasser’s L.A. Confidential is a must-see for anyone who appreciates both the art of photography and the cultural history of Los Angeles. His images transcend time, offering us an intimate view of the stars who shaped the world of film, music, and fashion during an unforgettable era.

Stephen Brownlee 10/10/24 Stephen Brownlee 10/10/24

Restarting a Journey: "Strut & Soul" at Chingona Drag Brunch

This past Sunday, I found myself in an environment that felt both familiar and foreign—surrounded by the vibrant energy of drag performers at Chingona Drag Brunch, hosted by the incredible Melissa Befierce. It was more than just an event for me; it marked the first day of a restart for a project close to my heart, one I began two years ago called Drag in Monochrome.

My journey into photography actually started with drag. A performer I used to know needed some photos, and what began as a simple favor for a friend turned into a full-fledged project. I practiced my craft on their friends, and eventually, Drag in Monochrome was born—a collection of black and white images capturing the essence of drag performance. The stark contrast and simplicity of monochrome allowed me to explore the raw emotions and artistry behind the makeup and costumes. You can read more about that project in an article featured on Reckless Magazine here.

But as my skills have evolved over the last two years, so has my vision. This new iteration of the project, now called Strut & Soul, brings color into the mix. Drag is vibrant, bold, and full of life, and color feels like the right medium to highlight the richness of these performances and the performers’ personalities. Where this project will lead, I’m not entirely sure yet—maybe a photo exhibit, maybe a book. I’m leaving space for the project to grow and evolve organically.

Reentering the drag scene after spending the last year and a half immersed in shooting metal concerts was a bit of a shock to the system. It felt almost foreign, stepping back into this world after so much time focusing on a different kind of energy, one that's loud, raw, and dark in its own way. But drag is its own kind of rebellion, its own kind of performance art, and I was quickly reminded why I fell in love with it in the first place.

The brunch itself was Halloween-themed, adding an extra layer of flair to the day. Performers like Mayday, Beetrix, Moxie, and Godoy took the stage, each bringing their unique style to the event. I found myself both behind the lens and as an observer, soaking in the atmosphere while also capturing it. It was the perfect environment to reignite my passion for this project.

As Strut & Soul begins to take shape, I’m excited to see where it will lead and how it will continue to challenge and inspire me. Here's to the next chapter.

CHINGONA BRUNCH GALLERY