Jessica Alexander is a full-time editorial, event and entertainment photographer based out of Austin, Texas. Jessica has had work recently published in Rolling Stone (issue #1222), Modern Drummer-including the cover image of the April 2020 issue, SF Weekly, Triathlete.com, E! Magazine, Texas Monthly, BET as well as Esquire Magazine. Jessica is a music agency shooter for FutureImage and a sports photographer for MarathonFoto and a member of Professional Photographers of America (PPA) and Nikon Professional Society (NPS). She is also represented by Getty Images and Wireimage as both Jessica Alexander and JEALEXphoto.
My digital photography work explores my relationship with live music as a photographer over the span of a decade throughout the United States. With influences coming from modern day concert music photographer pioneers such as Todd Owyoung and Ebru Yildiz to previous contemporaries J. Dennis Thomas and Scott Newton, I have found inspiration from bold, courageous and colorful visual story-tellers who have captured the stories of various musical performances through concise, meaningful and relatable images.
My aesthetic vision for my digital work is the interchange of light and darkness, space and time and the expression of elation as it relates to my perception of the musical artist I have captured; Oftentimes I have captured a candid of the musician in a thought-provoking stance. Although as a current performing musician myself understanding that we cannot control every moment of our live performance to an ideal perfection, I find completion in knowing that I can see the elation, pain, pride and pure energy that comes from performing live for an audience and then capturing it.
My film photography work is often gritty, cross-processed and I often work with plastic vintage cameras such as the Russian Lubitel from the 1960s and a plastic Holga that can shoot both 35mm and 120mm. Oftentimes, my film work reflects the current landscapes I see in Austin, including the destruction and loss of older buildings and homes throughout the city. I rarely use any digital post-processing, as I want to preserve my work in its original film format.