"bright sun 250th @ f8" or "deep shade 125th @ f4" (chrys) Thu 17 Oct 02 23:28
Henry, you've mentioned these slideshows several times now - it sounds like these are pretty exciting for you. What are they? They almost sound like 'events'.
Martha Soukup (soukup) Fri 18 Oct 02 13:36
E-mail from Diganzi: Henry I won't be in NYC to visit your gallery. Is there another way I can own an original print by you? I'm really interested in a picture of Morrison/Doors.
Henry Diltz (henrydiltz) Fri 18 Oct 02 13:49
Here's the thing about slideshows: When I started taking pictures almost by accident as a folk musician on the road in 1964, the first roll of film I bought happened to be slide film. What actually happened was my pals in the group ( Modern Folk Quartet ) and I were driving across the country in a motor home playing colleges and clubs, and we parked outside a 2nd hand store in East Lansing, Michigan, went in to blow a few bucks on stuff we didn't need, and all came out with funky little used cameras. Mine was called a Pony and it was Japanese and it chewed up the sprocket holes on the bottom of the film . One of the other guys ( Cyrus Faryar ) who knew something about it, bought us film at a drugstore, showed us how to load it and we started snapping maddly away at each other and every thing we saw for the rest of the trip...cows, flowers, audiences etc. When we returned to LA we got it all processed, invited all our friends and had a big slide viewing get together. As this was in the 60s of course we all had a bit of God's magic herb, which served to heighten the whole visual trip. I was so blown away by these huge glowing images on the wall of everything I had seen and done, that I couldn't wait to take more so we could all get together and do it again. From that point on I always had my camera ( a Pentax by this time ) with me and spent all my musician money on film and processing. Every single day I photographed my friends and anybody I was hanging out with, which were fellow musicians for the most part. I had slide file boxes each with the name of a friend and as they filled up over the years I began to amass a history of each person and my slide shows would hold many surprises for each person there. My days were also spent looking for views I could spring on my "high" friends that would "knock their socks off." Unexpected visions, strange angles, bright colors, odd categories, funny moments and close ups of little thing like bugs and snails that became amazing at 8ft x 5ft. At the same time, I began to amass hundreds of pictures of various groups that I crossed paths with frequently, like the Buffalo Springfield and the Turtles and the Mamas & Papas, and magazines began to call me to use them and pay me. That was a revelation! I thought, "you mean people will give me money for doing what I love to do?" So that's how I got into photography by way of slide shows. To this day I still look at life and the things I photograph as more stuff for slide shows. I still do them with my friends and occasionally on opening nights at gallery shows of my work.
Henry Diltz (henrydiltz) Fri 18 Oct 02 14:12
Thank you for asking, Martha. You can view all the prints that are in my NYC gallery ( 76 Greene St.) on my website : henrysgallery.com ,and you can purchase them online, or you can call a toll free number to order by phone: 800-778-9988. If you like the Doors, take a look at the Morrison Hotel album cover photo...a favorite of many people.
Martha Soukup (soukup) Fri 18 Oct 02 16:42
Henry, that was a question from e-mail I was passing on, but I'm sure Diganzi is pleased for the answer!
"bright sun 250th @ f8" or "deep shade 125th @ f4" (chrys) Fri 18 Oct 02 21:02
Yeah Henry's website is worth checking out. (Though it's navigation can seem a little Myst-like at first.) Henry, I was interested in the way you've implemented the limited editions. I think it is a great idea to leave the 8x10's unlimited. When I read that I thought it made so much sense. It helps ensure that 'average' folks who like your images will mostly likely always be able to afford and obtain one. Do you ever get any grief for this approach?
Dave Zimmer (zimmerdave) Sat 19 Oct 02 05:33
Hi Henry, "Uncle Dave" here. Great to see you on inkwell.vue. A question I've always been meaning to ask you is ... what are your favorite examples of "spontaneous magic" during a photo/album cover shoot -- when a background, setting or expression that you weren't looking for just appears out of nowhere?
Henry Diltz (henrydiltz) Sat 19 Oct 02 21:43
That's the way I feel too Chrys...If thousands of people ultimately want to own a "Sweet Baby James" print I want them to be available. I don't really sell 8 x10's much anymore, but my 11 x14's are un-numbered ( they are signed, tho ). The 16 x 20's are in an edition of 275, and 20 x24's & 20 x 30's are in editions of 100. I've never had any problems with this system...it just takes careful book keeping to keep an accurate record of the numbers.
Henry Diltz (henrydiltz) Sat 19 Oct 02 23:32
Hi there Uncle Dave. That's a really good question. I'm not so sure I have a really good answer but let's see...One photo that comes to mind is of Kurt Cobain at his last LA concert in 93. I went to that concert to bring my teenage daughter, Zoe, and I wasn't planning to shoot, but sitting in my seat during the first song and seeing all the photographers in the pit, I changed my mind. His management had put a photo pass in with our tickets which was good for only 3 songs ( which was why I wasn't going to bother ). During the second song I made my way forward and into the pit, That left only one song to shoot and the lights were very low...almost too low for the slow film I had ( 200 pushed to 400 ). I went thru the motions thinking I wouldn't get much, and I was almost right except for one magic frame which caught him in motion and was all glowing red and purple! I'm still not sure how it got on my film. That was a happy surprise! One other time comes to mind when I was photographing James Taylor in 1969. His manager, Peter Asher, asked me to take b/w publicity pictures and we had gone to my friend Cyrus's house where there were some old wooden sheds. James was not very talkative and so we were walking around rather quietly, pausing here and there to click off a few frames. We came to a tall wooden post which he leaned his arms on. He looked so calm and yet so direct and it framed up so nicely that I knew we were happening. I asked him to stay there a bit so I could take some color as well as the b/w they wanted...( thinking, as always, of my slide shows ). Anyway, that picture became the cover of his "Sweet Baby James" album. I have always preferred the b/w version though as the color cover was enlarged to the point of being too grainy and was cropped oddly by the art director at WB Records...another reason why I much prefer working with my ole friend Gary Burden. One last example ( you've got me going now, Dave ) would be Stephen Stills' first album cover taken in the snow in Goldhill, Colorado. We had been up all night ( a standard thing in the music world ) and suddenly noticed the ground was covered with snow. Stephen grabbed his guitar and went for the door saying, "Get your camera!" He sat on a stump and I was just getting started when he said, "Wait a minute!", ran back in the cabin and came back carrying a big red wooden giraffe which he set in the snow beside him. I took a few shots and said, "OK, we got that," meaning lets loose the damn giraffe and get the real picture. Stephen glared at me and said, "I WANT THIS IN THE PICTURE!' Sometime later this photo became the cover of his first solo album and to this day I don't know what it means, but if I cover the giraffe up with my hand I can see it wouldn't be nearly as interesting without it.
Henry Diltz (henrydiltz) Sun 20 Oct 02 00:40
And now, dear friends, I must announce my departure for a week. I leave tomorrow for New York City where I must attend an opening at my Soho photo gallery ( Thur. 10/24 ). Before that I will be doing some promotions for our DVD on VH1 classics ( a digital channel ). This Sunday ( which is today ) The New York Times is running a small piece on the gallery and the DVD. I will be back Sunday the 27th and would love to answer more questions and talk with you then. I'll meet you all back here at that time.
Jon Lebkowsky (jonl) Sun 20 Oct 02 15:36
Thanks, Henry! We'll be waiting! Have a great trip...
crawling along next to the highway (divinea) Wed 23 Oct 02 08:27
I'm back online, after a case of the flu that had me laying awake, shivering from chills, and wondering about biowarfare. Ugh. Anyway, I had a GREAT time with the disc, and I'll hold my questions till Henry gets back. Sorry I'm late, but you wouldn't have wanted me in here, hacking and moaning...
crawling along next to the highway (divinea) Sun 27 Oct 02 19:54
Henry, are you back yet?
Chris Carroll (marvy) Mon 28 Oct 02 04:51
I just saw Henry this weekend in Soho, and he mentioned he was heading back out west Sunday so he ought to be checking back in here later today...
Henry Diltz (henrydiltz) Mon 28 Oct 02 12:24
Yes indeed...here I am, back in LA and ready to continue! Hey Chris...nice to meet you at the gallery the other day. Your last post says, "4:51 AM"...were you just going to bed or just getting up? So many great people came into the gallery while I was there. John Sebastian from the Lovin' Spoonful dropped in at closing time on tuesday and we went out to dinner and walked through our old 60's neighborhood. Matt Damon bought a couple prints the next day, and we got a visit from Steve Hillenburg, the creator and animator of "Sponge Bob"...my teenage son's favorite cartoon. New York is like a bee hive!..( only with people instead of bees ).
"First you steal a bicycle...." (rik) Mon 28 Oct 02 12:32
As an aside to the photography issue, Henry, whose idea was it to apply the Hi-Los style harmonies to folk material?
Chris Carroll (marvy) Tue 29 Oct 02 05:01
Probably it was 7:51 here on the East Coast, but came in as 4:51 on the Well's West Coast servers. So I was up early, but not insanely so (although I did have a fire call in the middle of the night that night, so I might have been checking in at an insane hour...).
David Freiberg (freemountain) Tue 29 Oct 02 08:52
Yes, Henry - I was a big MFQ fan and I had been a long time Hi-Los afficianado before that. Loved those harmonies. By the way, what's Cyrus doing these days?
David Gans (tnf) Tue 29 Oct 02 09:08
I first was the name Cyrus Faryar in connection with the Firesign Theater, on one of their albums. What was his involvement with them?
Henry Diltz (henrydiltz) Tue 29 Oct 02 14:13
Thanks for the MFQ questions folks...We started out in Honolulu in the early 60's when I was supposed to be studying psychology at the Univ. of Hawaii but instead was hanging out at the Greensleeves Coffeehouse. Various combinations of singing partners were tried there but the one that stuck was a trio of myself, Stan White ( a Hawaiian flamenco player ), and Chip Douglas Hatlelid ( raised on a sugar cane plantation, and a huge Kingston Trio fan ). The 4th member, Cyrus Faryar,( who owned the coffeehouse but had left to sing with Dave Guard (K.Trio) in his new group, "The Whiskeyhill Singers" ) returned to Hawaii to join us at our steady gig at "Dolan's Steakhouse" in Waikiki. With 4 of us in the group, Chip, our arranger, had to go from the simple 3 part harmonies to the more esoteric 4 parts. Luckily he was also a big fan of the "Four Freshmen," ( like Brian Wilson was ) and he was able to write out vocal charts for us to learn. We perfected this sound nightly and eventually made it to the West coast, The Troubadour folk club and Warner Bros. Records. After reunions in the 70's and 90's and 8 albums, we are contemplating another get together. This would happen in Hilo, Hawaii where Chip and Cyrus now live and where we have a little studio. Cyrus, Chip and Jerry Yester ( who replaced Stan early on ) all became record producers. Cyrus produced an early Firesign Theater album among others; Chip produced the Monkees, Linda Ronstadt and the Turtles; and Jerry produced and arranged for Tim Buckley, Tom Waits, the Association and many others, and became a member of the Lovin' Spoonful and still is. I became a photographer.
David Freiberg (freemountain) Tue 29 Oct 02 15:49
I remember hanging at Cyrus's house in Laurel Canyon (mid '60s) while on "shopping trips" from the bay area. I was there one afternoon when Dino Valente dropped by and sang a new song he's just written, "Get Together," to us. Cyrus has the greatest smile in the world!
David Gans (tnf) Tue 29 Oct 02 18:17
Let us know if you do that gig in Hilo -- I'd love to go back there some time, adn that would be a fine excuse.
Henry Diltz (henrydiltz) Wed 30 Oct 02 02:20
Yes David...I also remember those days in the early 60's when Dino was hanging out with Cyrus in Laurel Canyon. I lived just up the hill . Dino played the guitar like a thunderstorm and sang like a cyclone. To see him sing "Me and My Uncle" was like going to the movies...a John Wayne movie. The story is he sold his song "Lets Get Together" for a hundred bucks. "Smile on yer brother...Love one another." It's a song more people need to hear these days.
Henry Diltz (henrydiltz) Wed 30 Oct 02 02:28
If we do something in Hilo it will be to record another album. We've always intended to record an album of Hawaiian music with 4-part harmony and Chip's amazingly good slack key guitar playing. If we actually do it, David, you're most welcome to come and hang out.
Jon Lebkowsky (jonl) Wed 30 Oct 02 05:16
Heh - I see this in my mind as a bunch of guys with guitars in psychedlic Hawaiian shirts, playin' and shakin', with a pig roasting on a spit in the background and perhaps a few hula groupies in grass skirts, looking for a good lei!
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