Guaranteed to satisfy every sense, plus those yet to be recognised by modern neuroscientists, underground rave culture is a prime case study in collective euphoria. Hung Supply life member Tommy Green immortalises it on 35mm film. In Tommy's own words, it's raw, real and unfiltered. It's our kind of lawlessness.
Photos: Tommy Green / IG: @distorted.__
Tipping his lens to nineties and naughties rave photography, Tommy preserves the culture one snapshot at a time. For Tommy, today's photographs are tomorrow's nostalgia. Working under the moniker Distorted, Tommy has filled his books shooting music festivals such as Outsider, Soma, and Ballista. His affinity with the crowd cultivates a raw portrayal, one that you're unlikely to find elsewhere. We caught up with Tommy to flip through his catalogue and discuss the journey so far.
Glad to have you, Tommy. Before we dive in, tell us a little about yourself.
I’m a 25-year-old photographer from Mulubinba/Newcastle, now based in Naarm/Melbourne with a passion for capturing raw, real, and unfiltered moments through the lens of photography.
What inspired you to first pick up a camera?
I've always felt a natural pull toward photography. Whether I was borrowing my mum’s camera or snapping photos on an iPhone, I was fascinated by the idea of distilling a fleeting moment into a single, expressive image. What truly sparked my deeper interest, though, was discovering a series of photos online that had a nostalgic, almost timeless feel to them. I became curious—how were these images created? That question led me down a rabbit hole of research, where I was surprised to learn they were shot on film. Like many, I assumed film photography was a thing of the past, so learning it was still very much alive—and accessible—only made me more invested.
Not long after, I found a Canon Autoboy 3, still affordable at the time, and decided to give it a go. That camera, which I still own, was the beginning of everything. The feeling of receiving those first few developed rolls—seeing how the film captured moments in a way that felt both raw and intimate—was what truly hooked me.
Can you share what motivated you to create Distorted?
Honestly, I recognised a void in the scene where I felt my unique take could document the gritty side of things and true human activity. I had been into film photography for a while, loved and had a heavy interest in the scene, so I started out snapping away for fun, and now it’s grown to a bit of a thing. And something I am very proud of.
How did your upbringing in Newcastle influence your perspectives in capturing the rave and dance music culture?
Growing up in Newcastle, there had always been events happening and friends heavily into the environment, so I was always surrounded by some form of dance culture.
In the early days, we had semi-underage raves where crews would hire out big halls and throw kinda illegal parties. Was pretty nuts looking back on it. Then as I came of age, club culture was evident with the odd rave etc. Enjoying the dance music culture has always been front and centre for me. Although this was the case, the club environment can entice some of the not-so-good characters, which led me in more recent years to the underground and illegal side of the scene, where it’s a place of embracement and a safe space for all.
What inspired the name Distorted?
I wanted a name that defined the overall vision. Something that was one word and punchy. A word that embraced the real, uncommon, and maybe the unliked side of the environment I wanted to capture. I would write down ideas on different names as they came to me, sometimes in the strangest of times, and I guess I picked a few, bounced it off a few friends, had a think, and thought Distorted fitted well.
What drew you to film photography, and how does it contribute to the unique style of Distorted?
I’ve always had a passion for photography and a few years ago discovered 35mm film. It completely took me by the heart, 100%. The way the photos look and bring a lively feeling is unmatched. From my first film camera and roll, I’ve been mesmerised by it, taking photos of basically everything. But through Distorted I believe using film gives a timeless feeling and provides a nostalgia to the photos. Plus, with film, you get one shot per moment, not 100 shots like with digital. Therefore, when everything comes together right and the shot turns out great, there’s no other feeling like it.
How quickly do you turn the photos around from an event, and where do you get your photos developed and scanned?
I try to get the photos developed and sent out ASAP. If an event is on Friday or Saturday, I normally get them developed and sent to the promoter by the following Thursday, so as quickly as I can. In Newy, I get the photos developed at a local lab called Pro Am – they are a one-stop shop for developing and scanning, and the crew there are lovely. In Melbourne, I go to Halide Supply, and they really know what they are doing. They offer top-notch dev and scan.
What led you to notice a lack of film photography in the rave and dance music scene?
As the scene has been around since the late ’80s, moments were always captured with film, but in our lifetime the art had been lost. With my passion for the music and film, there was a clear avenue that wasn’t walked much that I thought I could fit into. Most events have photographers who shoot thousands of photos on a digital camera, mostly of people posing. Anyone could do that. With film, there’s an art to it and a special set of skills needed to harness the right moment. With Distorted’s focus on mainly one subject, normally a person in their element, I believe Distorted brings a different perspective to photography in the rave and dance culture.
How do you go about capturing the energy and spontaneity of the rave?
Focus is generally on people being themselves in full flight of enjoying the moment. A joyous aura, interaction between friends, and a different look always catches my eye. I often try to capture the “distorted” real, gritty, and dark side of the environment, showing that of what people turn a blind eye to.
What techniques or camera settings do you use in low-light conditions at rave events?
Being a fast-moving, dim, and spontaneous place, I find it best to shoot with point-and-shoot cameras with a fixed lens and variable flash. This ensures a crisp moment captured in the best way.
In your opinion, what makes a moment "real and authentic," and how do you ensure that authenticity is conveyed through your photographs?
I guess something that is candid, true in its form of enjoyment and genuine human expression. A moment that isn’t posed and asked for. In Distorted’s photography, I focus on the candid authenticity of human emotion in a moment, cementing Distorted’s photos in a way that is different to most and eye-catching.
As a photographer contributing to the safe space, how do you approach capturing moments that embody the essence of openness and acceptance?
Being mindful and reading the person/room is essential in contributing to the unique aspect of being a safe space. Asking permission to take a photograph first, or getting permission to snap them in a moment later in the night. Explaining who I am and what I do usually helps this notion. Although half the time I snap first and ask later when I can judge the person is comfortable in the space. This strategy ensures sterling candid moments and generally is welcomed, but if not and the person didn’t like it, I always apologise, explain who I am and what I do. This can lead to some open conversations and, strangely enough, the building of great friendships.
How do you handle the balance between being an active participant in the events and maintaining the role of an observer as a photographer?
Sometimes it can be hard when you’re working an event and always looking for shots to settle into the music and enjoy the surrounds, but putting the camera away for moments helps. I also attend many events just as a punter enjoying the sounds instead of only going to events I’m booked for. At the end of the day, I love the scene in every form, and that’s why I got into it.
One of my favourite rave photographers of the ’90s and ’00s is Matthew Smith, AKA MATTKO. Do you have any influencers, photographers, musicians, or artists that inspire Distorted?
Music photography–wise, basically anyone featured on Tough Luck or Cold Archive. Seeing photographers around the world make sense of the chaos in their scenes and capture their own unique take on those moments is genuinely inspiring. I feel strangely connected to them without even knowing them. I guess it’s because we all feel that same special something about the environments we immerse ourselves in.
What role do you think your photography plays in preserving the memories of the rave and dance music culture, both for individuals and the community as a whole?
Honestly, I believe my photography does just that. It preserves memories for all in the rave and dance culture. It cements joyous moments in a specific time that will never happen again. A certain feeling, look, and emotion is permanently preserved. And hopefully, Distorted photos will spark those amazing feelings for people in the future when looking back at those times and my photos.
Looking ahead, what’s the future of Distorted? Any cool plans or projects?
Yeah, for sure! I’d love to do some more press shots for DJs and producers. I also have many cool raves and doofs coming up that should be fun and provide opportune moments to capture. I think I’d love to expand out and be more frequent with bigger events, but I’m sure that time will come. I’m just doing me, and that seems to be working.
Dream shoot scenario... pick a subject matter, a location, and a camera setup. Who or what are you shooting, and why?
Dream scenario would have to be touring around Europe, documenting the ins and outs of all the niche festivals they’ve got over there. I’d want to really immerse myself in each one—be part of the community, contribute however I could, and capture everything naturally through my lens.
It wouldn’t be about chasing a specific subject, more about doing what feels right in the moment—just like I do now. Pressing the shutter when something moves me, when it feels honest.
Camera-wise, I’d keep it simple and reliable—probably stick with film, maybe even the Canon Autoboy 3 that got me started. That way I can focus on the experience, the people, the atmosphere—and let the moments unfold on their own.
What cameras and film stock are you running at the moment?
When it comes to gear, I’ve always stuck with what’s felt natural and reliable for me—especially in event photography. From the very beginning, I’ve gravitated toward compact point-and-shoots, and over time I’ve narrowed it down to two favourites: the Olympus AF-10 Super and the Canon Autoboy 3. Both have proven to deliver consistently strong results, with a hit rate that works well for my shooting style.
As for film, my go-to is Kodak Ultramax—often dubbed the “poor man’s Portra”. Some might consider that a bold choice, but I genuinely believe Ultramax renders colour beautifully, particularly when used with flash. That said, I do enjoy switching things up from time to time and experimenting with different stocks to see how they shift the mood or tone of a shoot.
**insert product photos**
Can you share the contents of your Hung Supply gear?
I always carry my cameras in the Sidewalk Sling—it’s become an essential part of my setup. Inside, I keep all the tools I might need on the go: cleaning wipes, spare batteries, and anything else that could save the day if something unexpected comes up.
My main camera is fitted with the Rein Rope strap, which is as functional as it is stylish. It’s got this clean, understated look, but it handles beautifully—comfortable, durable, and just a pleasure to shoot with.
When I’m overseas, the Roscoe Pouch never leaves my side. It’s more than just a camera bag—it holds everything I need close, keeping things simple and efficient when I’m moving fast or exploring unfamiliar places.
But honestly, the piece of gear that sees the most action isn’t a camera at all—it’s my heavy metal keychain and clip. No matter what I’m wearing, it’s always clipped to my side. It’s a small detail, but without it, I genuinely feel like something’s missing.
If you could only shoot one camera for the rest of your life, what would it be?
Honestly, it would have to be my trusty little black box from the ’80s—the Olympus AF-10 Super. It’s compact, minimal, and surprisingly resilient, with a sleek design that doesn’t draw too much attention but consistently delivers sharp, clean results. I tend to shoot on the move, chasing spontaneous moments as they unfold, and this camera suits that rhythm perfectly. It’s quick, light, and dependable—everything I need when I’m capturing life as it happens.
Lastly, name three Instagram handles we should check out and why. They can be photographers, friends, inspirations...
Tough Luck is a EU-based platform that showcases some of the world’s best film photographers documenting music culture where they reside. Jordan’s been a massive support from day one and has given Distorted so much reach and recognition. I owe a lot to him and the one-of-a-kind platform he’s creating. An absolute must if you’re into any kind of photography, party scene, music, or youth culture. Can’t speak highly enough of it.
Mixmag’s well known worldwide for what they bring to the community, and the ANZ arm is no different. It brings a unique and refreshing take on our scene here in Aus. Jack, who runs the space, is a well-versed and seasoned music connoisseur of the highest degree who knows what they are doing, and does it well. The platform is a must for any electronic music lover, giving insights into what’s on weekly, deep dives into niche areas, artist profiles, and the most insightful facts that can impact the community. They’ve also been a massive supporter of Distorted since day dot. Give it a little look-see.
Paragon aren’t just a clothing brand—they’re a community. Known not just for their sick threads but their distinctive take on events. Always providing unique experiences in different locations with diverse genres of music, it’s a given their parties are a good time. From their funny and creative promo vids to cool giveaway concepts during the event, Paragon paves their own way for what a clothing brand is capable of. The brand is the epitome of supporting like-minded crew in your local community, often collaborating with creatives from all different mediums. Even being known for cutting deals with crew buying threads. They know the true meaning of bringing people and mediums together for a greater whole. Get onto them now before they sell out and become the next Nike.
Check out more of Tommy's work, HERE.
