Pearl Jam were about to hit Sydney in a few days, and while I was out running errands, a poster caught my eye—photography exhibition. Curiosity kicked in. On the day, I got up early and headed into the city to check it out. Somewhere on the train, I figured I’d look up the photographer’s website. A quick scroll… and then it hit me—wait a second. I’d seen these images before. Not once, not twice—everywhere. Magazines, posters, promo shots… these photos had been part of my world for years without me even realising who was behind them.
That photographer was Chris Cuffaro. The list of artists he’s worked with is endless. At the exhibition, Chris gave a talk, breaking down the stories behind the shots—this time mostly focused on Pearl Jam, but with a few unexpected gems thrown in. I remember thinking, so you’re the guy behind all these images I’ve been looking at my whole life. As you can imagine, everyone had something to ask. One after another, Chris fired back answers—funny, sharp, sometimes a little sarcastic, and completely unfiltered. No PR filter, no safe answers—just honesty. After the exhibition, we said we’d stay in touch—the kind of thing people say all the time. But this time, it actually stuck. A few days later, we were still talking, and before long I found myself helping him out with an exhibition here in Sydney, a workshop, and a few other projects—getting a closer look at his world along the way.And as you’d expect, the stories are endless. Talking to him feels like a mix between a rollercoaster ride and a trip back in time. That’s when it hit me—I had to sit down and do a proper interview with him.
Ladies and gentlemen – Chris Cuffaro.
Keep it simple. Do the work. Plan everything. And have fun doing it. It’s not easy now—but it never was. Just make sure you’re enjoying the ride.
Let’s start from the beginning. I knew your photographs long before I met you, and I imagine I’m not the only one who recognizes your work but knows very little about the person behind the lens. Is that something you’ve done intentionally?
The simple answer is yes. I come from a time when you let the photos do the talking. I’ve always been a bit insecure when it comes to attention—never really comfortable being the focus. So I worked harder. I let my work ethic and the images speak for me. That hasn’t changed. I don’t need the spotlight on me—I want it on the work. The photos. The body of work. That’s what matters.
Who is Chris Cuffaro?
I’m a photographer, director, and creator—55 years deep and still going. Grateful every day that I’ve been able to do what I love for this long. I’m a little annoying, a little crazy, and always up for a good time. A full-blown workaholic—cursed (or blessed) with loving the grind. Most importantly, I’m a mentor and a teacher. I take that seriously. And yeah… I’m also a sarcastic, slightly jaded fuck. Comes with the territory.
How did you first get into photography? Was there ever a clear plan—like “I want to photograph artists”—or did it happen more organically, with you taking opportunities as they came? And for anyone trying to follow a similar path today, what advice would you give them?
I fell in love with photography at 10, the moment I shot my first roll of film. I was inspired by Audrey Hepburn in Funny Face. Truth is… I had a crush on her, and I figured if I became a photographer, maybe I’d meet her one day. From that moment on, I knew—this is what I’m doing with my life. No backup plan. No looking back. Every step just pulled me deeper into it. I had one simple goal then, and it hasn’t changed: create the greatest body of work I can while I’m here… and let it be judged after I’m gone. Looking back now, it all makes sense. Everything happened for a reason. I started out wanting to be a fashion photographer, but when I moved to LA, everything shifted. My first boss gave me the best advice on day one: “It’s not what you shoot… it’s who you shoot.”As for advice? Keep it simple. Do the work. Plan everything. And have fun doing it. It’s not easy now—but it never was. Just make sure you’re enjoying the ride.
At this stage of your career, where do you feel you are now?
Tough question… because I know I’m not getting any younger, and I’ve always wanted more. I’m at that point where I’m celebrating my past, but still grinding for my future. I’ve done a lot—but it never feels like enough. There’s still so much I want to create, explore, and push. That hunger hasn’t gone anywhere. I’ve always wanted more… and I still do.
How’s life in LA these days—specifically from a photography perspective?
LA is good for photography—but like everywhere now, there’s just too much of everything. When I moved here in ’82, there were maybe 10 A+ photographers. That was it. You knew who they were, and they set the standard. Now? There are 10,000 photographers. It’s louder, more crowded, and harder to stand out—but that’s just the reality of today.
When we first met, you told me if you expect to make a living purely from photography today, you better have a plan B. How do you see the current scene?
The money isn’t what it used to be in the music and entertainment world. Back in the day, there were real budgets—real support for creative work. That’s changed across the board. It’s not easy now. But honestly… it never really was. My advice? Learn everything you can. Keep evolving. Make yourself more valuable. The more you know, the more you bring to the table—and that’s what keeps you working.
Going back to the beginning of your career—was there ever a moment when you thought it might not work out?
UGH… every single day of my photography life. Of course I’ve questioned everything—over and over again. That’s part of it. It never really goes away. I’ve been lucky though. I had great mentors who believed in me and kept me moving when I needed it most. When I was younger, I was probably too dumb to even consider it might not work out—and honestly, that helped. But through it all, one thing never changed… I’ve always believed in myself and my talent.
Looking at your photos of Nirvana, Pearl Jam, and others, it feels like you were right in the middle of a seismic shift in music. Heavy metal was fading, labels were unsure, and these new bands suddenly brought hope to a whole generation. What did the music industry feel like back then?
You’re right—metal was getting pushed aside as grunge took over. From the first time I saw Soundgarden in ’89 through the end of ’92, everything shifted. The music, the culture, the business—huge change, fast. I was right there in it, and it was a blast. The whole Seattle grunge scene took over. Its influence was everywhere, and the industry jumped on it hard—making BIG money while it lasted.
How did you personally live those years, when everything was changing so fast? Any regrets? Anything you’d do differently if you had the chance?
I had fun—but then again, I always had fun. The only real regret? I wish I shot more. Too many times I left the camera at home… when I should’ve had it with me. Those are the moments you don’t get back.
When you were photographing Nirvana or Pearl Jam, did you have any sense you were capturing something historic?
I didn’t think what we were doing was “historic” at the time—but I knew the music was. I knew the shows were incredible. The albums, the energy… it was all there. You could feel it. Me? I was just doing my best and having fun.
You’ve photographed so many iconic artists—what can you tell us about them that we don’t see in the photos?
Another tough question… UGH. The good news? Everyone was great. Truly. They made me look good. I’ve got my favorites—shoots and artists that stand out—but I’m grateful for all of it. Every moment, every session. The one thing they all had in common? They loved what they did… and they did what they loved.
Shut the fuck up and do the work. Not just your photography—your business, your life, your relationships. All of it. Be nice. Always. Nobody wants to work with assholes.
Did any of them know they were destined to become superstars?
I don’t think they knew. It felt more like they were chasing “success,” without really knowing what that meant. They just wanted to do what they loved—and make a living doing it. Just like all creatives.
Do you think that kind of access to artists is still possible today?
Yes—just not for me anymore. I don’t chase it these days. I shoot for fun now, and for any bands or musicians who need help. There are plenty who do—and it’s always a good time being part of their journey. I get just as much out of helping them chase their dreams.
What did success feel like back then, compared to now?
Success wasn’t just about getting paid back then. It was being published in magazines. S hooting big ad campaigns. Creating album covers. For me, it was always about making images that would last forever. It was also about respect—earning it through hard work, being different, standing out from everyone else. And most of all… having fun doing it.
Today, everything feels overproduced, with too many people shaping an artist’s image. How was it different back then?
I’m probably gonna get in trouble for saying this… but everything is just content now. Sorry—but it’s true. We don’t wake up to make “content.” We make photos, music, art. But because of the world we’re in—and the platforms we see it on—everything gets labeled as content.
There are more talented photographers out there than ever. But they’re getting diluted, buried under the sheer volume being dropped every single day. Music, photography, art… more is being created now than at any other time. The core hasn’t changed—just the amount, the speed, and the noise.
I know you’ve never let the industry take the fun out of photography—you still do shoots for the love of it, with friends, helping people. What keeps that spirit alive for you?
I love shooting more today than the day I started. Photography has always been my anti-depressant—it’s saved me more times than I can count. It keeps me grounded, keeps me moving. These days, I really love working with new talent. Helping people out, being part of their journey—that means a lot to me. And through it all… I still have more fun than anyone.
I also know you have a special connection with Australia. Tell us about that. Why Australia?
I first went to Australia in 1988 on George Michael Faith Tour with George Michael. The first day I hit Bondi Beach… I was hooked. I’ve been back 12 times since, and somehow I love it more every single visit. The beach, the food, the people, my mates—and the pace of life. Everything just feels a little slower. Works perfectly for me.
Maybe people in the U.S. don’t fully realize it, but you’re part of the creative community here. What has that connection meant to you?
I love the relationships I’ve built in OZ—from Melbourne to Sydney. So many great mates. Real connections. I’ve done a bunch of exhibitions there since 2018, and every single one has been a blast. The support—from the people, the music fans, photographers, and the whole creative community—has been incredible every time.
And what have you been working on during your recent trips down under?
I’m always working on getting back. I was just there from November 2025 through January 2026, and I’m already planning my return. The goal is end of 2026—another three months, plus a couple of exhibitions. Stay tuned.
Looking ahead, any upcoming projects you can share?
Nothing locked in just yet—just a lot of ideas bouncing around. I’m aiming to do at least three exhibitions this year. Still a lot to figure out, but that’s part of the process. Just know this… it’s going to be BIG, and it’s going to be FUN.
Is there an artist today you’d still love to photograph? What draws you to them?
UGH… too many to list! I’d love to shoot Taylor Swift, Billie Eilish, Lady Gaga, Death by Romy, Arrow de Wilde… and a whole lot more. There are so many artists out there right now—but the ones I’m drawn to have that something. They rise above the noise. I’m always chasing the edge… the personality… the chaos. My motto? The weirder the better. Give me weird!!!
Over your career, you’ve used different camera brands and formats. Can we talk about that evolution? What drove the changes, and what were you looking for each time you switched?
I started out shooting 35mm—of course. Borrowed cameras for the first eight years. My first photography teacher said it best back in 1972:
“Real photographers shoot with Nikon or Hasselblad.” He wasn’t wrong. Over the years I’ve shot with everything—Pentax, Mamiya, Hasselblad, Nikon, Polaroid, Olympus, even Diana. Back in the film days, every camera had its own look, its own personality. Then I moved into digital, picked up a Hasselblad… and never looked back.
And right now, what camera or setup are you shooting with?
I’ve been shooting with the Hasselblad X1D II 50C for the last five years—and I love it. I’m hoping to upgrade to the Hasselblad X2D 100C sooner than later, but I’ve also been eyeing the Nikon Z9. Truth is, I’ve never been a gear head. I don’t get caught up in all that. I just want something simple, intuitive—something that gets out of my way. When I’m shooting, I don’t want to think. I just want to feel it and go.
That’s everything from me, is there anything you want to add?
Simple as this… some advice for any photographer or creative: Shut the fuck up and do the work. Not just your photography—your business, your life, your relationships. All of it. Be nice. Always. Nobody wants to work with assholes. And most of all… have fun. Just have fucking fun!!
LINKS:
CuffaroPhoto.com – My past and blogs!
CuffaroHits.com – Greatest Hits Project.
CuffaroPlus.com – My present work for the last 10+ years.
ChrisCuffaro.com – My site for directing! Past and present.
Cuffaro50.com – Celebrating 50 years of photography.
