‘Coldplay One Lens: 25 Years of Photographs’ Chronicles One of The World’s Biggest Bands

Victoria Smith’s free roaming life echoes the bohemian spirit of many of her subjects. Leaving home at the ripe age of 14, Smith traveled across the country from New York to California, picking up a camera and shooting everything in her path. In her quarter century freelancing, the talented photographer has shot everyone from Johnny Rotten, Leonard Cohen, and David Crosby to Arctic Monkeys and Kasabian to Drake and Grimes. She covered festivals like Glastonbury, T in the Park, Latitude, Coachella, SXSW and Outside Lands, earning a check from Q Magazine, MTV, Billboard, Rolling Stone, Spin and many more along the way. She was even feted by one Gavin Newsom—then the Mayor of San Francisco— with a May 18 “Rock Star Photographer Day” honor in connection with her first major exhibition at Hotel des Arts.

In 2016 Smith released her first book, Of Poetry and Protest: From Emmitt Till to Trayvon Martin (Norton Press), for which she shot portraits of the project’s 43 poets. Now the California-based lensman drops her second : Coldplay One Lens: 25 Years of Photographs (DK Books), a historic quarter-century retrospective. Selling over 170 million records globally (more than any band that debuted after 1987), nabbing 7 Grammys and 9 Brit Awards (the most victories and nominations ever) along the way, with frontman Chris Martin even honored with NME’s comically named Godlike Genius Award in 2016, it’s not hyperbole to say the book covers the explosive evolution of one of the era’s biggest bands.

Collecting over 300 photographs of Coldplay in various stages of intimacy, from Martin songwriting in bed to the band in peak Glastonbury Festival glory, the hardcover already rocketed up Amazon’s Hottest New Releases charts. To mark the occasion, Smith shares some insight into what it’s like working with one of the biggest rockstars on the planet, while also sharing some photographs exclusively for Maxim. 

When you first start shooting Coldplay were they already an established band, or did you pierce the inner circle in the early days? 

June 20, 2001. I was shooting everyone who would grant me a photo pass at the Warfield Theater in San Francisco. I had just decided in November of 2000 that I was going to be a ‘rock photographer’ and I was 100% sure about it. I didn’t know Coldplay’s songs yet, but they were already playing this 2,300-capacity venue within eight months of their debut album’s US release—and that’s no small feat for Brits in the USA. But I had a self-appointed job to do. Then I was enamored with their set. With nothing to lose, I sent a note back via security to the road manager asking if I could shoot the singer—I didn’t know his name. I said I was with Rolling Stone. I wasn’t. The manager came up to meet me and, as Chris [Martin] put it, I charmed him. He brought me down, introduced me to Chris, and we went into the bathroom—the most private and best-lit room backstage there—and those are the first photos in the book. So, early days!

How did these first days develop into a longer project, or something that is now two decades in the making? 

We were all the same age, high on the excitement. We got on, became buddies, and I was swept in. I’d see them a few times a year and take some photos. At the same time, I was gathering monster mentors. Baron Wolman, Rolling Stone’s first chief photographer, took me in first. Then, like a flood, came Robert Altman, Chet Helms, Jim Marshall and Michael Zagaris. Jim came an hour early to my first photo show at an underground club with a dozen roses—that’s how we met. He bought a White Stripes print from me and left before anyone else arrived. These legends became my mentors and friends. Seeing their books documenting decades of music photography planted the seed early: keep showing up, and something builds over time. I loved music and life and wanted to be a part of it in a lasting way, while contributing something of my own. Coldplay kept going, and I kept turning up with my camera. Decades in the making, but casually.

Chris Martin is obviously a huge star, both in music and across culture. What’s it like working with someone of that stature, and having to work around them without ruffling feathers? Staying copacetic seems like it’s Job One for a band photographer. 

It is interesting watching others react to him at this level. He’s worked hard and is massively adored. I’m aware he’s evolved, yet in my mind he’s planted as I knew him when we were younger, a 24-year-old, just besotted by the world and girls. It fascinates me how he deals with the trials of celebrity. Now that he is the big star he was destined to be and I only see him once or twice every five years, I can feel a little thrown off around the handlers. I can clam up if I feel unwanted, still get the shot—just not with the energy I’d love to bring to it. Seeing a moment and taking a photo is something I do to share with others, documenting our life and times with a genuine sense of reverence. I think they feel that from me, because I’ve never felt on eggshells with the band. I see a photo, I take the shot. That’s it. I don’t run my camera like a machine gun. So that too makes it easier, I bet. If they wanted to be alone before going onstage, I’d see that and go.

Share a good anecdote about Chris or Coldplay that reveals a bit about who they are as people. 

What you see is what it is. The way Coldplay are in interviews—they’re just like that. They’re sweet. They’re stoked. They laugh. They joke. They all got twinkly eyes and charm. On tour they’d play cricket in parking lots and Chris would go on runs. I’ve never overheard any of them being cruel. They have a handful of original crew still touring with them. They still love what they do. Not stories, but true. Want to know more? Read the book. Ha.

Were you at the show where that Astronomer CEO was outed? Chris seemed to find the humor in it via some IG posts.

I was not there, but when I saw the news I thought, “Only Coldplay could get more famous.” Then I reckoned, “I bet they’ll be the first band to play on the moon.”

How did these photos develop into a book? How did it take seed with the publisher DK?

My archive was staring me down for a while, begging to be seen. And I needed to do something to get going after a great loss. I began scanning negatives in 2024 and organizing my archive to make my indie rock photo book. When I saw how many Coldplay images there were, it was decided I should put out a Coldplay one first. After confirming with Chris that he thought it was a good idea, I got interest from a handful of different publishers by cold writing them myself. My former editor at Q magazine, the great Dave Brolan, mentioned that a Q magazine designer, Emma Wicks, was working with DK, and he’d see if she’d like to pass it on for consideration. I snagged an epic agent through another friend’s author friend, and after a few months of consideration, the contract was drawn up with DK. Emma and I designed it via Zoom, London to California. It took months. The next one will be in person! From scanning to release, One Lens took 2.5 years.

The book is selling amazingly, what’s been your feeling to its reaction? Must be affirming. 

When Coldplay did a co-post with DK in their story on a Tuesday, it got on Amazon’s Hottest New Releases and went to #2 in Photojournalism and #2 in Rock Music Books. I didn’t know to expect that kind of reaction from a story mention. I got a big shocker smile for sure. That’s the power of Coldplay. This book is a legacy piece, made with love and my blood, sweat and tears. I had to handle a lot of energy forces and deal with a few dickheads to get this done. Got my first grey hairs too! So yeah, people receiving it and loving it makes me feel good. Letting these photos get into the hands that will cherish them is the point of it all, and I’m sure it makes my mentors and family happy in the heavens too. 

Follow Executive Editor Nicolas Stecher’s travel, spirits, automotive and F&B adventures on Instagram at @nickstecher and @boozeoftheday.