Podcast Summary: SWWP #56 – Photographer Colin Lane on Capturing The Strokes
Host: Julian Delgado
Guest: Colin Lane
Release Date: April 14, 2026

Overview

In Episode 56 of Something Wrong With The Podcast, host Julian Delgado sits down with renowned photographer Colin Lane—best known for his iconic photos of The Strokes, including the legendary Is This It album cover. The conversation dives deep into the story behind those images, Lane's serendipitous relationship with the band, the aesthetics of early-2000s NYC rock, and the crossover between fashion and music photography. They also touch on Lane’s work in the hip-hop space and reflect on the enduring impact of both his photos and The Strokes themselves. The tone is conversational, candid, and affectionate—a warm recounting of music and photo history.

Key Discussion Points & Insights

1. How Colin Lane Met The Strokes and Early Shoots

• Chance Assignment: Lane was assigned to shoot The Strokes for The Face magazine in 2001, before the band was signed.
  • “The magazine was the bigger sell than the band at that point.” — Julian (03:40)
  • Lane hadn’t heard of The Strokes, but the buzz started after hearing their "Modern Age" EP (04:43).
• Lane invited the band to his apartment for headshots, then suggested an impromptu rooftop shoot—an "illegal adventure" that became memorable for everyone involved (06:56).
  • “We got these great shots... I’m pretty sure that's why they picked me to do the press shoot for the first album, because we had this like, slightly illegal adventure.” — Colin Lane (07:20)

2. The Story Behind the ‘Is This It’ Album Cover

• The famous “ass shot” cover wasn't actually from the Strokes shoot but a year-old Polaroid taken of Lane’s then-girlfriend wearing Chanel gloves after a fashion shoot (10:03).
  • “I was like, hey, let’s take some sexy pictures, you know? She was like, fuck that. I’m tired. I'm going to bed... Just one pack of Polaroid, 10 pictures, then we'll be done.” — Colin Lane (10:03)
• Lane "just happened" to have this photo in his physical portfolio when showing the band after their official press shoot.
• Julian Casablancas, flipping through the portfolio, suggested it as the album cover (13:13).
  • “Julian sat down... the ass shot was in my portfolio and he’s like, that would be a cool cover, you know. What's up with that one?” — Colin Lane (13:13)
• The photo was ultimately used as the international cover since a last-minute discover of an art book led Julian Casablancas to prefer another image (Neil DeGrasse Tyson's atoms-colliding photo) for the US release—but thousands of copies with Lane's photo had already been printed internationally (14:40).

3. Cementing an Aesthetic for a Generation

• Lane became closely associated with the New York rock "look" for the 2000s, helping define a gritty, urban, and authentic vibe.
  • “Wasn't it weird? Like, I guess, like it's easier to do this now in hindsight, but at the time you probably weren't thinking of this... you're also creating the aesthetic and look for what rock was in New York at the time.” — Julian (16:13)
• Lane’s natural inclination for street photography and willingness to take chances yielded candid and legendary shots (16:50).

4. Touring and Social Dynamics with The Strokes

• Lane traveled with the band, shooting rehearsals, backstage moments, and festivals.
  • Notables from the era: Jack White, Beck, Ryan Adams, White Stripes (17:25).
• Lane became friendly with the band, playing soccer and baseball with members, but acknowledges not pushing himself "enough" to capture even more from those golden years (20:12).
  • “My big regret is that I didn’t push more to shoot more of the Strokes... I was older than them. I wasn’t, like, one of them, you know. But they were very welcoming.” — Colin Lane (20:17)
• The band’s tight social group, rooted in school friendships, was “super close and super tight.” (22:30)
  • “They were all, you know, always hugging and kissing each other and... grabbing each other's butt. They were super close and super tight.” — Colin Lane (22:35)

5. The Arc of The Strokes & Lane’s Continued Relationship

• Lane captured landmark moments—Julian’s wedding, important tours, studio hangs.
• He notes the band's evolution in sound and stage presence, lauding Julian’s improved vocals and confidence (25:52).
  • “Julian's voice has improved over the years... and his stage banter has gotten really good.” — Colin Lane (25:38)
• While no longer in their immediate circle, Lane shares pride and affinity for the band, describing a natural drifting apart as lives moved on (27:22).

6. Musical Crossovers: Shooting Hip-Hop Legends

• Lane pivoted sometimes into hip-hop portraiture, sharing stories about:
  • Diddy (“Never let me do a portrait, he was producing the video too, MTV News was there, just a crowd everywhere he went…” — Colin Lane, 28:36)
  • Raekwon (who balked at dirtying new shoes), Method Man (notoriously late but gave Lane a “cool boot mark”), Ja Rule, and A-Trak (shot as a 16-year-old after his DJ championship victory).
• He points out the difference between photographing rappers (who love the camera) and indie rockers (more aloof/discreet):
  • “The difference with hip hop guys versus, like, the indie rock guys... hip hop guys love it if you're in their face with a flash, you know, they could care less.” — Colin Lane (33:52)

7. Insights on Music vs. Fashion Photography

• Lane always aspired to be a fashion photographer—which led him, indirectly, to the “ass shot” cover.
• He highlights the financial disparity: fashion photography remains much more lucrative than music work, unless you’re shooting for major stars (37:50).
  • “Music doesn't pay unless you're shooting, you know, Beyonce or you know, Taylor Swift. They use all the fashion photographers...” — Colin Lane (37:50)

8. The Legacy of the Original Photographs and Album Art

• Lane has tried (unsuccessfully) to get Chanel to purchase a print for their archives, underscoring the enduring cultural value of “that glove” (37:03).
• They discuss recent Strokes album covers, including high-priced, re-appropriated art pieces (39:06).
  • “There's been a lot of, you know, he's been sued... He just reappropriates other people's art and then in that way, he makes it art instead of a commercial photograph.” — Colin Lane, on Richard Prince (39:35)

Notable Quotes & Memorable Moments

• On capturing The Strokes at the turning point:
  • “I was just happy to be shooting for The Face. I’d never heard of The Strokes. They were unsigned... Then I listened to it—I was like, holy shit. These guys are amazing.” — Colin Lane (04:43)
• On the risk and reward of the rooftop photo adventure:
  • “And so I took The Strokes there. And wouldn’t you know, it’s the first time I get busted…But I knew one other building…would you guys want to try another building? And they were like, yeah, let’s go.” — Colin Lane (06:56)
• On accidental legend:
  • "If he had found that [atoms-colliding cover] picture like a few days earlier, I would have been shit out of luck." — Colin Lane (15:19)
• On the band’s tightness:
  • “That's one of the things that made them special. They were all buddies from school... always hugging and kissing each other and, you know, grabbing each other's butt.” — Colin Lane (22:35)
• On the realities of getting paid:
  • “Music doesn’t pay unless you’re shooting, you know, Beyoncé or you know, Taylor Swift... They hire fashion photographers to do their shoots.” — Colin Lane (37:50)

Important Timestamps

• [03:44] – Lane recounts first Strokes shoot and the NYC rooftop adventure
• [08:49] – The story behind the Is This It cover
• [13:13] – Julian Casablancas picks the iconic image from Lane’s portfolio
• [16:04] – How the album’s success kickstarted Lane’s career
• [17:25] – Shooting the White Stripes/Strokes at Radio City & UK tour stories
• [19:27] – Lane on building friendship/social life with The Strokes
• [22:29] – The band’s origins and close bond
• [27:33] – Colin’s work in hip-hop and Diddy story
• [33:52] – Differences between photographing hip-hop artists vs. indie rockers
• [37:03] – Trying to get Chanel interested in the glove photo
• [39:06] – Discussion of The Strokes’ new album art and licensing costs

Conclusion

Through Lane’s vivid storytelling and Julian’s fan-to-fan curiosity, the episode serves as a passionate tribute to the enduring influence of The Strokes—not just on rock n’ roll, but on the image of 21st-century New York itself. Lane’s journey from fashion hopeful to defining the look of a rock generation is as much a tale of luck, timing, and openness to experience as it is one of artistic talent. For Strokes fans and music photography nerds alike, this conversation is a candid snapshot of an era and its echoes.