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“I forgot there was even gonna be a show,” he said. Not only did he never anticipate the scope of what Woodstock would be, he had so much fun living with and photographing the beautiful young people preparing for the show in this great setting that he wasn’t thinking ahead.
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Henry arrived at Woodstock–which took place on Max Yasgur’s farm in Bethel, New York–three full weeks before the concert would commence. The next day Woodstock producer Michael Lang called Henry.
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Monck was the MC of Woodstock his announcements from stage are preserved in the movie and record album. You should come.” Henry told him he couldn’t afford it. His friend Chip Monck, a lighting designer, then living in Woodstock, New York, called him in 1969 and said, “Henry, we’re gonna have a big show here. He accepted though he had no idea whatsoever what it would entail. I used to hide among the light stands cause I knew they would never look at those with cameras, so I was safe.”īecoming the official photographer for Woodstock, despite its retrospective glory, was as uncalculated as his other famous forays. So I would shoot when they were rehearsing the scene or lip-synching songs. You couldn’t shoot when they were shooting, because the click would be audible. “I’d go there in the morning, spend the whole day. What happened is they used to have older guys shooting photos – like newspaper photographers – and the Monkees weren’t comfortable with them, they weren’t’ hip, they weren’t part of the scene. “To this day I don’t have the rights to those.
And that’s what happened–I’d shoot, and then they’d take the rolls of film, undeveloped.
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“One day in 1967 I got a call from a guy asking me to go down to The Monkees’ TV show at Gower Gulch. Even the Monkees, formed as an imitation-Beatles TV band, wanted the Diltz touch, as Henry recalled: Soon every band wanted the kind of shots Henry Diltz was taking. “Jim lived behind his eyes,”said Henry, “and nobody really knew what went on behind those eyes.
They waited outside till they saw the guy had left his post momentarily, at which time the four Doors ran in, and Henry got the shot. But these guys were not to be so easily deterred. They asked the clerk there if he would mind if they took a few quick shots. The idea was to shoot the band inside looking out, using the window as a frame. They hopped in their cars and drove there Henry arriving first with Gary to photograph the old façade before the band arrived. To shoot the cover of Morrison Hotel, for example, he and the band brainstormed about a potential title, when keyboardist Ray Manzarek mentioned a transient hotel he saw near Skid Row in Downtown L.A. None of it was calculated to intentionally preserve historic visuals of rock and roll all simply happened in the moment, often by “accident,” as Henry said. We pick up the story as Henry is explaining that he teamed up with art director Gary Burdon to create many album covers. This is Part Two of our tribute to Henry Diltz on his 82nd birthday. To commemorate the 82nd birthday of the greatest and most important rock photographer of all time, we bring you Part 2 of our tribute, this one about photographing The Doors, Crosby, Stills & Nash, and Woodstock