NECROSHORNS: "My style is darkness and intensity"
NecrosHorns, acclaimed black metal photographer known for his intense and evocative images. A staple in the scene, he’s worked with legends like Nifelheim, Marduk, Mortiis, HILD, and many more.
Name: Christopher Dean
DOB: 15th of April
Place of birth: Panama
Occupation: Photographer
You started with different mediums before transitioning to photography. How did this shift in mediums come about, and what drew you to photography full-time?
Photography always been a big interest in my life but for different reasons I could never practice propertely, I started NecrosHorns working with a complete different medium, wood burning and blood painting, but with time I noticed I needed a way to showcase my work in socialmedia so I started to get into photography until I decided to do a full transition towards this form of art.
As an artist working closely with bands, how do you capture the essence of such intense, atmospheric music in your photography?
The secret is to connect and understand, you need to feel a connection with what you are shooting, anyone can press the shutter but mot everyone can capture the spirit on the photo, that’s what I am for, you need to like and understand what you are capturing, many photographers make the mistake to shoot at random just or to make money or exposure and at the end they have an empty product, I don’t try to create a photo, anyone can do it, I aim to create art.
In 2023, you shot "The Omen…" in Via Dolorosa, an area rich with history and tension. How do you balance the emotional weight of such locations with the artistic vision you want to convey? How did the atmosphere and location influence the creative process for that shoot?
Interesting question, is difficult to put that on words, but I will say it like this way, in the same way that you balance light and darkness, you understand both subjects and blend them together, I don’t want to portrait the place I choose for the photo as a place of “good and light” for me we were the light on the dark place that blur the mind of people into fanatism, so we took our fire and passion, there is a thin line between express feelings and don’t fall into pretentiousness that sometimes art can get into that side, so I try to balance all not always more is always good, sometimes less is better, i don’t like to over pack my photos with different elements, in this case Via Dolorosa (where we shoot the photo) is not shown to much but is the meaning of the place when the viewer noticed it that actually provoque the emotions, non the less details of the disturbed people in the area that was something we tried to captured but is not something that can be staged so we had to gamble for the right timing.
Your photography books, especially *"The Soul of the Stage,"* showcase the raw energy of metal performances. How do you approach photographing live shows compared to more controlled studio sessions?
On the stage I do not have control of their movements so I am to understand my subject, predict their movements and capture their emotions in the right movement, I don’t want a boring photo that doesn’t show energy I want always to capture and focus on the energy, for that you have to be an sniper, observe, wait and shoot, think a lot in compositions, I don’t want either half of an amount blocking what I am aiming for to capture.
How do you maintain your distinct style and perspective in a genre that thrives on darkness and intensity?
My style is darkness and intensity, so is not difficult to keep that as a signature of my photos, I don’t want colorful photos that looks like a rainbow on stage, so is not difficult to maintin my style.
What moments stand out in your career as defining your artistic path?
There is very different someone that craft an object to sell and other one that is guided by emotions to create, my art is the path and style of life I choosen or I felt unconsciously, so what I can tell you is a I have a very much misanthropic life and point of view, where it comes from? Well not everythinf is to be publish because there are personal moments in my life that has triggered this perspective and I rather keep them for myself.
What was your vision going into the shoot for Hild’s latest album, Thrash på Svenska? Were there any unique challenges in visually capturing the raw energy and spirit of their music?
I knew Hild and before I got the info about the new album I talked to Lars in London when we met and told him about my idea about this location for photos, is an ancient bronce age stone ship and one if the biggest tumulus in Scandinavia, with time the new album process started and photos were needed, we schedule it and went for it, capture the strong energy of Hild was not a challange at all but to handle the weather conditions was not an easy task, was very cold, late autumn, they were cover on freezing blood and was not easy to keep warm, I had winter jackers on me but I do not like to wear gloves while shooting, my camera was freezing and my fingers hurting very bad, that was the biggest challanged but through the pain we managed to capture some very intense and powerful photos.
Reflecting on your time at the Mörkaste Småland festival, how would you describe your experience?
Mörkaste Småland is one of the most friendly festivals I been to, I believe the energy of each promoter projects on the mood of the festival, that is something I noticed through the year, Walter is always relax and enjoying what he booked, we always laugh during the festival and I feel that end up influencing the event, I enjoy it very much, good bands, awesome audience, I will miss the festival very much but I am looking forward on what he will come up for the future, hope is not the end but a new chapter.
Having transitioned from being an airline pilot and flight instructor to a full-time artist, how has that previous experience shaped your approach to art and photography?
Is 2 different worlds, I choose the name NecrosHorns as an alter ego, is the same as Christopher Dean but at the same time is not, I don’t thing my pilot experience could be connected directly to my artistic approach but I guess there are some moments in my carear that be attached to my feelings aswell.
In your role as Music Content Director and Head of Photography for Via Omega Magazine, what challenges did you face balancing creative freedom with editorial responsibility?
That magazine had a lot of potential and I loved the idea behind the magazine, so in that part was not a challanged ar all, there was a good balance between creativity and editorial, the main challanged I had working at Via Omega is some people that was part of the magazine that had agendas behind their work and didn’t understand as a journalist you have ti be subjective and don’t take sides, you show the news and let the reader dicide what side they want to take, but in the moment you push an idea in the reader head then you are not a journalist but an activist, I step a lot against this but I guess the ego of some didn’t let them see their mistake.
How do you approach working with other creatives, and what have you learned from those collaborations that have impacted your own work?
I try always to be open and understand what other artist want to achieve and project for example when I capture them with my camera, but also they need to understand I have a style and if they reach out for me there is my signature they gonna get, if they want a different style I respect that but they can search for someone else, as an artist you can compromise on some levels but don’t change your style to please someone else, I guess at this point in my career I already left that point very clear and most of the times when people search for me they let me work and give me freedom to go with my ideas.
As technology and social media platforms evolve, how do you stay current with trends while ensuring your work remains authentic and true to your vision?
Times changes and is a constant evolution, I try not to think on this often and just go with the flow but I try aswell to keep the integrity of what I like to create, as an example my books have very little information to read, I let my photos speak for myself and let the viewer create their own interpretations, that’s a reason I wouldn’t open a twitter account, I often don’t like to read what other people write so Instagram goes very well on what I like, also I am not the kind of person that follows trends in general, now days is very trendy craft beer for example and is seen as a very social thing, I do not like beer or social bar gatherings so I don’t even try to be part of that, maybe that’s a good example on how I am as a person, I don’t ket group pressure influence my lifestyle or even less artistic expression.
But on other hand bussiness models are always good to evolve with them but there comes again, while everyone open webshops to reduce workflow in to a more stright forward and faster selling method I do not own any webstore I handle every order directly and I don’t want to give my clients a feeling of been just a number in my bank account, but I prefer to let them ask me questions directly and feel that I care (because I do) on every order and that means a lot when they express what they feel about my creations.