Marco Borggreve

"I started back in '89, straight from school. The music influence came really from my parents as the house was always full of music. We just always listened to classical music, I do not play an instrument myself, I only take pictures.

I capture many private and unique moments. My pictures are not unique but I do my best to get myself into unique positions. I have been doing this work for a long time and you build up a level of trust. The first thing I do is to let everyone in the orchestra know that I'm there. I make a point of introducing myself and I try and put them all at their ease and, after a while, I become part of the orchestra. I do read music though and I have always made a real effort to understand what the musicians are playing.

Timing is vital, sometimes in rehearsals or at certain crucial moments you just don't take pictures. You've got to let the musicians finish a difficult piece without interruption and this they appreciate a great deal. And I always try and show them my appreciation when I've taken a picture. It could be just a smile or a quick eye contact but you have demonstrated your understanding and this helps develop empathy, a trust.

It’s only since I went digital that I’m spending more time doing colour work. The quality of colour is very important to me and prior to digital a big limitation for me was that I had to accept the film manufacturer’s ideas of what was correct colour. Then you also had the variable of changes in colour due to processing. It’s very subjective of course but now with digital I can control colour precisely to my taste.

There are no trade secrets. It is why you do it that matters, not how you do it. I find digital cameras allow me to have more fun taking pictures even if sometimes I find myself still in front of the MAC at 5am working on a picture! “

View all images by Marco Borggreve

1923 - 2006 ;
Hungarian Jewish composer ;
Portrait ;
London, UK ;
Credit: Marco Borggreve / ArenaPAL


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