Behind the Lens: A Conversation with Kirill Bykanov
On a rainy day in New York, we sat down with Kirill Bykanov (@kirill.tiff) at Double Down Saloon to chat about his journey as a concert photographer. For January, we’re highlighting a few photographers we love, and Kirill’s work has always stood out to us. At 25, he’s had quite the life—born in Moscow, raised around Europe (mostly in Vienna), and eventually landing in New York City after bouncing around the East Coast. Despite living in so many places, Kirill says NYC feels like home, and it’s clear the city has shaped his creative vision.
We first met Kirill outside Space Ballroom in Connecticut about a year ago at The Backfires concert. He was on tour with the band, snapping photos that perfectly captured their energy on stage. We couldn’t stop talking about how great his photos were and it’s been cool to follow his work since then. Over some drinks, we got to hear more about his story and his unique perspective on capturing live music. With that, we grabbed our drinks and dove into a conversation about Kirill’s journey.
YFG: What drew you to concert photography?
Kirill: My photography journey started back in high school with analog film. I’ve always been into visual mediums—anything that had to do with capturing images. I think it stems from always loving storytelling, even as a kid. I’d tell stories about my vacations or adventures, but just saying it wasn’t enough for me, so I’d draw them or write them. Eventually, I got into being a musician as another storytelling device, but even that didn’t fully scratch the itch. Photography and video became the combination of everything I loved, and it stuck.
In college, I majored in multimedia journalism with a concentration in documentary filmmaking and always thought I’d work in the film industry. But after graduating into the 2023 writers' strike, everything shut down, and I had to figure something else out. Photography, which had always been there, became my fallback. I’ve always loved music—it’s my oxygen—and though I’m not a musician, I wanted to stay as close to it as possible. I started shooting shows for friends who were musicians or producers, doing it for free just to be part of the scene. Things started clicking, and I realized how much I loved capturing artists and live performances. Now, over a year later, it’s turned into something I’m really passionate about, even though it wasn’t what I originally planned.
YFG: Were there any photographers or artists who inspired your journey?
Kirill: I would say a lot of people inspire me. It's kind of a curse for photographers or artists in general—we compare ourselves to others a lot and often aren't pleased with our own work. If I were to list everyone who’s influenced me, it would be a long list. Everyone I follow on Instagram has impacted me in some way. I was never formally trained in photography; I stumbled into it and learned on my own.
One of my early influences was Whitney Otte (@whitneyotte), a creative director, photographer, and videographer I met during the pandemic in New Hampshire. She was already established in the music industry and became one of the first music photographers I followed on Instagram. Watching her style and how she went beyond concerts—doing press kits, cover shoots, and creative direction—really inspired me. Even when I started specifically in concert photography, I knew I wanted to move into that broader creative role where you help shape an artist's visual presence. Another big influence was Matty Vogel (@mattyvogel), Billie Eilish’s tour photographer during the Happier Than Ever tour. I loved his work and still do. People like Whitney and Maddie, along with so many others, have shaped my journey and style.
YFG: What's it like touring with bands and capturing moments that resonate with fans?
Kirill: Touring is one of my favorite things to do, but now my favorite is styling an artist or band’s full visual presence. Still, touring is something I’ll never give up. If I have a gig or job lined up, but a tour opportunity comes up, I’m quitting whatever I’m doing to hit the road. There’s something special about being on tour, like living this ghostly life around North America, constantly moving and experiencing new places. As a photographer, I don’t just shoot concerts—I capture everything, from the road to pre-show rituals, the hotels, and the people you meet. Every day, you’re in a new city with new faces, sharing experiences. Despite being an introvert, touring feels different. The adrenaline keeps you going, even though it’s intense and exhausting. Afterward, the crash can be hard, but it’s all worth it. Since my last tour, I’ve been waiting for the next one, all I want is to get back on the road.
YFG: What role does post-editing play in your process? Do you have a favorite editing style?
Kirill: I wouldn’t say I have a favorite style, but more of a natural way of shooting. I know some photographers avoid flash, but I love it—it adds a contrast and sometimes an overexposed, washed-out look that I enjoy. For black-and-white photos, I think direct flash looks great. I don’t like to over-edit; I mostly do color correction and white balancing, then post the image. However, sometimes a set needs a specific vibe, and I’ll adjust accordingly. I’m not classically trained in photography or editing, so I don’t follow strict workflows. I adjust to the vibe of each shoot, often based on discussions with the artist. My approach has always been about feeling things out, even though it might not align with what others teach. I’ve been figuring things out as I go, especially in the early days. Art and photography are subjective, so I just try things and see what works.
YFG: Do you think concert photography influences how fans experience music and live performances?
Kirill: I think so. When I take photos, I want people who didn’t attend the show to feel like they’re experiencing it through one frame. I want them to see a photo and say, “That’s what the vibe was like.” It’s about capturing the emotion and energy of the concert. For those who were there, I want them to look at the shots and think, “Yeah, that’s exactly how it felt.” A good concert photo should show the community the band is building, not just the singer on stage. It should capture the interaction between the band and fans. When I look at concert photos from shows I didn’t attend, I want to feel that vibe, and I hope others do too. So, yes, concert photography definitely influences how fans experience music and live performances.
YFG: What advice would you give to someone trying to break into concert photography?
Kirill: My advice is simple. First, don’t worry about your equipment. It doesn’t matter what camera you have—just pick it up and start shooting. Whether it's a $200 point-and-shoot or a phone, just start capturing photos. That’s what makes you a photographer. Second, you need to show up consistently. If you’re only doing it occasionally, it’s harder to make progress. If you’re passionate and want to turn it into a career, you have to keep showing up, putting in the work, and staying consistent. Hard work always pays off, whether it’s reaching out to bands or improving your craft.
YFG: What has been your most memorable concert or performance to photograph and why?
Kirill: My first show at The Anthem in DC was really special. It was right after my first tour, and a promoter offered me the chance to photograph for The Midnight, a cool retro techno band. I had full access to the venue and stage, and I remember looking out at the crowd, which felt huge to me. It was a big moment that made me feel like I was actually going to make it in this industry. Ironically, the photos turned out awful, since my camera was broken—shutter malfunctioning and a fried sensor—but it was still a milestone. Despite the technical issues, that show made me realize that if I kept grinding, I could build a future in this.
YFG: If you could go back and purchase your first camera and lens, what would you get?
Kirill: My first camera was a Canon Rebel T6, which belonged to my high school partner. She rarely let me use it, but I had it all the time. Later, I got a Panasonic Lumix GH5, which was great at the time, but I wouldn't recommend it now due to autofocus issues. Nowadays, I’m a Sony guy. Their autofocus, color profile, and ISO capabilities are incredible, especially for fast-paced environments like tours where I need both high-quality photos and videos. My favorite video camera is the Sony FX3. If I were buying my first camera today, I’d probably go for a small, fun Panasonic or Canon point-and-shoot, since I could carry it everywhere and always be shooting.
We're beyond grateful that Kirill took the time to sit down with us and share his insights. It’s been an incredible experience getting a glimpse into his world within the industry. We’re excited to see what he has in store for the year ahead, especially with The Backfires hitting the road. Keep an eye out for more of his amazing work—there’s no doubt it’s going to be a standout year for him. See you groupies next time to see who we are going to highlight next!
All our love,
Your Favorite Groupies
