In the ever-thrumming heart of New York City’s music scene, William Ruben Helms has built a creative life out of being in the right place at the right moment — with a pen in one hand and a camera in the other. A seasoned writer and editor whose passion for live music led him into photography in his 30s, Helms has since become a quiet force behind the scenes, documenting everything from punk rock riots to ethereal shoegaze performances. Based out of Corona, Queens, his work spans genres, atmospheres, and lighting nightmares, chasing the unpredictable magic that only a live show can offer.
In this exclusive interview, Helms opens up about his unexpected path into photography, the hustle behind the lens, and the raw, fleeting beauty of catching someone’s favorite song in real time. Whether he’s capturing smashed guitars in strobe-lit frenzy or the tender joy of a fan’s face, Helms’ work is a love letter to music, memory, and the moments that make it all feel electric.
Q. Name/Location
A. William Ruben Helms. I’m based out of Corona, Queens, NYC, USA.
Q. What initially inspired you to become a Photographer?
A. So, I’m primarily a writer and editor. I’m inching into my late 40s now, but I seriously got into photography in my 30s. I had a musician friend, who encouraged me and thought I had a good eye very early on. I quickly discovered that being a journalist and photographer was a way to get into almost any show or festival I wanted to see.
I improved the only way you can – shooting anything and everything, every single day. And as I got better, I believed that I could really do something with it.
Q. How do you manage to stay creative when working in fast-paced, sometimes chaotic environments like concerts?
A. First, I shoot across a wide and very eclectic range of genres and styles. A punk rock show will have a very different atmosphere and ambiance than a say, a folk singer/songwriter showcase. A jazz show will be very different than a hip-hop show and so on. Does the artist or venue prefer certain colors? Are you in shooting in strobe light or with projections? An outdoor summer festival set will be different from an indoor, multi-venue one. On top of that, every venue and every festival in every town offers a different challenge every single night you’re shooting. The fun part for me is the challenge of getting photos that truly capture that show, that particular artist or that particular moment in difficult lighting, often with limited time keeps it interesting for me.
Q. Are there any specific photographers or artists who have influenced you?
A. There are a handful of photographers whose work I admire; but to be honest, I can’t say that I have a direct influence though. Anton Corbjin and Gordon Parks are masters of breathtakingly gorgeous, iconic images. I wish I could have my work look like their work.
There are a bunch of concert photographers whose work I really admire. Edwina Hay, Nick Karp, Katie Dadarria, Will Oliver, Toby Tennebaum, Deshaun Craddock, Ellen Qbertplaya, Kevin McGann, Ken Grand-Pierre, Leah B. Hayes, Jeannette D. Moses, Maggie V. Miles, and Lesley Keller are a few local photographers whose work I admire in a very crowded scene of talented folks.
Madison Swart is a fantastic photojournalist I met a few months ago. Melissa Simpson is a fantastic photographer based out of Philly.
Q. Do you have a favorite artist that you love to shoot?
A. A Place to Bury Strangers are one of my favorites. Their sets are always at eardrum shatteringly loud levels. There’s a ton of smoke machines, strobe light, projections and smashed instruments. They’ll even jump into the crowd and play kind of in-the-round. It’s mayhem! Pop Music Fever Dream play a wild set that will frequently feature their front person climbing off the stage, their guitarist starting a mosh pit with fans and so much more. I’d add Robert Glasper and The Roots to that list because they can call up anyone for a guest spot. Of course, they’re wildly talented.
Janelle Monáe is arguably one of the most beautiful and talented women I’ve ever been near.
Slowdive because their sound is gorgeous and their sets are full of strobe lights, projections and what not.
And I was honored to shoot the legendary Patti LaBelle. All of those are up there for me.
Q. What’s one thing you wish concert goers would understand about concert photography?
A. It’s not the most lucrative gig out there. Many folks are out there doing it for love – and maybe a little bit of personal or local glory. The common story goes something like this: You get into photography. You start to get pretty good. That aspiring musician friend or rapper boyfriend or DJ friend asks you to shoot their sets – for free or for drink tickets or something like that. So now you build up a little portfolio. Maybe you go on to shoot shows for a local blog or a local publication. There are a lot of super talented, fantastic photographers. It’s super competitive. The paying gigs are rare and few in between. It often feels like 10% of the people you know are getting 90% of the paying gigs. And 90% are fighting for the 10% of the remaining work. Rejection and feeling like a failure or like no one is paying attention to you or your work are frequent and constant battles. But it’s typically only in your head because someone out there wishes they could do what you’re doing.
Q. What’s the most memorable or emotional moment you’ve captured during a show?
A. The moments that really stick with me is when I can capture a concert goer’s face light up when their favorite band or artist plays their favorite song. It’s one of the most awesome, most human things to capture. Then it’s capturing the sweat, blood, joy and passion of the performers.
Q. Do you have a spotify playlist or artist you would like to share?
A. Oh yeah! I DJ’d my old regular bar, a couple of years back. Check it out here: