Exploring Sisterhood Through the Lens of Céline, AKA Non Deux Non: A Fresh Perspective on Femininity

“I don’t understand photographers who show up with their huge lenses, don’t move, and don’t even crack a smile. Why are you even here, dude?” Céline vents over the phone. Having been a concert photographer for over fifteen years, she no longer feels intimidated by the so-called “old guard” of photographers. She recalls, “One of them once told me, ‘That’s not very professional!’ because I was dancing in the pit… But I’m here because I love the music, not to just stand around!” Her candid speech inspired her alias, “Non Deux Non,” under which she shares her photographs on social media.

Céline has many stories that highlight the sexism prevalent in the industry. “I remember one concert where the band said, ‘Let’s get the women to the front!’ and then all the guys stayed in the front row…,” she shares cynically. “It’s even more challenging at concerts featuring a female lead, the front row is packed with cis hetero men who won’t budge.” While such experiences, coupled with “a few arguments with fellow photographers” and “insults from audience members,” have made her slow down, certain moments remind her why she persists in capturing these nights spent in the depths of concert halls. Like the time at the Trabendo during a Lysistrata show in November 2019, “In the middle of a mosh pit, some guys formed a barrier around me so I could take some unobstructed photos while others moshed around me,” she recounts. “It was really heartwarming.”

When asked about her favorite shots, Céline quickly lists them: a photo of the singer of Shame at Cabaret Sauvage freely crowd surfing, another of the guitarist from Idles as he moved through the crowd… “I try to capture both the artist and the audience, both are equally important,” she states. Then, a memory seems to shine through, “One of the most intense moments for me, in terms of live experience and concert photography, was when I shot PJ Harvey at the Olympia in 2023. There were no other accredited photographers… It was just me and PJ Harvey, it was incredible: PJ fucking Harvey! I felt so privileged to be there, to photograph her so closely, freely.” And without anyone to bother her.

Why choose to document the underground scene?

Céline (Non Deux Non) – Initially, it’s the music I relate to the most and where there is a lot of commitment. The bands often carry political messages, both in their lyrics and on stage. I think of the Psychotic Monks, for example. The audience, too. Sure, I get yelled at sometimes, but it’s mostly a crowd that respects photographers.

I’ve had to elbow male photographers to make way for the younger ones

Is part of your goal to provide a different perspective, one that could be considered a female gaze?

Yes. I’m not exactly a young photographer, I’m actually on the older side (laughs). I’ve had to elbow male photographers to make way for the younger ones. Something that has really pleased me in recent years is seeing more women in the pit. It seems they’re seeking more diversity in their approach to photography. For me, beyond the female gaze, it’s really about reclaiming the pit and saying, “Just because it’s full of guys doesn’t mean you can’t go there and throw some elbows.“

What makes a good concert photo?

A lot can contribute to a great photo, like beautiful lighting. But the most important thing is to capture a moment, because there will be countless photos of an artist singing. A good concert photo is one where you can feel the atmosphere. You also have to play well with the lighting, that’s the second challenge. Since it’s something you can’t control, it’s something you have to adapt to. It can be very challenging, especially if there’s a lot of smoke.

Read the previous episode > [The female gaze of…] Sarah Hottiaux, capturing the indie scene on film