Rock photographer Henry Diltz brings his iconic photographs to Boston

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He climbed a mountain with The Eagles. Rode horseback with America. ‘Rolled a fatty’ with Neil Young. Now, Henry Diltz takes New England.

By Lauren Daley

August 13, 2025 | 10:01 AM

11 minutes to learn

One early morning in 1972, Henry Diltz discovered himself trekking the California desert within the pre-dawn darkish with The Eagles.

They’d left LA “at 2 a.m. when the bar closed. We drove three hours to the desert. We got there at 5 a.m. An Indian medicine man named Semu had given us peyote buttons. We were sucking on those as we climbed the mountain in the dark. We got to the top as the sun came up.”

… This is the type of reply you get while you ask Diltz a few photograph. (I’d requested in regards to the photograph he took for The Eagles debut album cover.)

There is nothing bizarre about Henry Diltz. 

Every phrase out of the legendary rock photographer’s mouth is colourful. Every quote sparkles. Every photograph has a banger of a narrative behind it.

The 86-year-old tells me he’s a “tiger in the bushes” when he shoots images. Recommends I learn Paramahansa Yogananda’s “Autobiography of a Yogi.” (“I gave it to everyone in ’65.”) One story entails “rolling a fatty and watching llamas” with Neil Young.  Another: driving by means of the desert on a horse (unsure if it had a reputation) with the band America. “We had a guide show us how to get to this bubbling oasis with palm trees in the middle of the desert.”

“If I’d’ve been a studio photographer, the story would be, ‘The group walked in at 2 p.m. They stood in front of the paper.’  But we would go on adventures!” he says with a gleeful snort.

I sat rapt as Diltz, additionally the official photographer of Woodstock, instructed colourful behind-the-lens tales.

It’s precisely what he’ll do when he brings “Legends in Focus: The Photography of Henry Diltz” to New England. Catch him, VH1 Storytellers-style, at Boston’s Emerson College Aug. 14 (7 p.m., $60.) See a free public gallery displaying from 10 a.m. to five p.m. 

Or you would possibly take a Diltz-style journey as much as King Pine Ski Area in Madison, N.H. Aug. 16, for a barbecue dinner, meet-and-greet and full present with money bar. ($85) 

Living within the ‘60s California music mecca Laurel Canyon, Diltz became a fly-on-the-wall (or “tiger in the bushes”). His body of work includes photos of Paul and Linda McCartney, Brian Wilson, David Crosby, Joni Mitchell, The Who, Keith Richards…

… But I’ll let him inform you about that.

Diltz, honored with a Recording Academy Trustees Award throughout Grammy Week in 2023, was a Herb Alpert Scholar in Residence at Berklee College of Music in 2019 and 2020.

I referred to as him at his house close to Laurel Canyon to speak gurus, peyote, fireworks, James Taylor, and extra. Warm and laid-back, he laughs at his personal recollections, endearingly exclaims “gosh!” usually — and, a number of weeks from his 87th birthday, nonetheless appears stuffed with surprise for this world.

Boston.com: I really like that you just’re bringing slideshows to New England, as a result of slideshows are your true ardour, what sparked your journey as a photographer.

Henry Diltz: I didn’t grow to be a photographer the second I purchased the digicam — I grew to become a photographer the second I noticed the primary slide on the wall. I went, “Oh my gosh. This is amazing. It’s like we’re right back there.  I’m going to take more photos because it’s fun to have these slideshows.” 

I began taking footage nearly 60 years in the past.  See, I used to be a people singer earlier than that, in Hawaii. We bought to California in ’63; I picked up a digicam in ’66 by chance, and it modified my life.

You had been on tour in ’66 together with your group, Modern Folk Quartet. You purchased a digicam on a whim in the future in East Lansing, Michigan.

Right. We’d simply performed University of Michigan, we had been in a Clark Cortez motorhome. We pulled over at a second-hand retailer as a result of they’re a lot enjoyable. Oh my God, you gotta go see the treasures, proper? Buy one thing you don’t want.

[laughs] Right.

I walked in behind [bandmate] Cyrus Faryar. Right contained in the door was a desk with little second-hand Japanese cameras, like 20 bucks. Cyrus, with out stopping, stated, “A camera, I’ll have one.” He grabbed one. I used to be behind him, and simply imitated him. Why not?

We bought again within the motorhome, Cyrus says, “Pull into the drugstore and I’ll buy film for everybody.” He handed every of us a yellow field of Kodak movie.

We took footage for 2 weeks as we traveled again to LA. We stopped at fields of cows. I bought on my abdomen and regarded up and photographed cows wanting down. At a junkyard, I discovered a rest room with a flower rising out of it. Our bass participant had this previous damaged cardboard case he needed to explode within the desert with M-80 firecrackers. 

[laughs] Oh my God.

The factor went growth! and flew 30 toes. I bought an image of it up within the air and him working away within the background. [laughs]

[laughs] An ideal fireworks shot.

We get again to LA; we develop the movie. I used to be stunned to search out out it was slide movie! I stated, “Let’s have a slideshow!” 

Then I’d take footage of all my mates: Mama Cass, Stephen Stills, The Turtles. I’d present these footage on the weekend. I cherished it after they’d say, “Oh, I didn’t even know you took that!”  

So I simply stumbled into it. I don’t even know why I grabbed the digicam. But I’m so glad the universe steered me in that route.

Soon your folks needed you to take publicity photographs. You began, by accident, with Buffalo Springfield.

One day I heard music popping out of a buddy’s home in Laurel Canyon. I walked to the door — Stephen Stills was over, taking part in guitar.  I’d met him in ’63 in New York City, when he was a younger child who got here to see our people band.

He stated, “Hey, Henry, want to come with us this afternoon to a folk club in Redondo Beach?” I stated, “I’d love to!” Thinking I’d {photograph} folks on the seaside for my slideshow. And I did. I bought a terrific shot of a man with a monkey on his shoulder. They look related. 

[laughs] That’s nice.

So I walked again to the membership and see a large two-story pink mural of a man driving a bicycle. I believed, “That’ll look good in my slideshow.” When the band walked out, I stated, “Guys, would you stand in front of that mural so I can show the size of it?” 

They used that photograph for publicity photographs.

It was virtually by chance.  

Your first album cowl was The Lovin’ Spoonful.

A buddy of mine, Erik Jacobsen — his group was referred to as the Knob Lick Upper 10,000 — referred to as me in the future and stated, “Henry, I hear you want to be a photographer. I’m producing this new group; we need pictures. Why don’t you come to New York and we’ll pay for your film and processing, you can get practice?”

Being a musician, I may simply hand around in a dressing room. Photographers could be pushy. “Stand over there.” I by no means did that. I simply frolicked. When I noticed one thing fascinating, I’d quietly take the image.

Almost photojournalist fashion.

I discovered one thing a number of years in the past. A woman stated, “What’s your Chinese animal?” I stated, “Gosh, I think I’m a tiger.” She stated, “Tigers are playful, sociable — but they’re loners. They like to hide in the bushes and watch other animals.” I believed, “Oh my God. That’s what I do.”

That’s a terrific analogy.

I by no means get in anyone’s face. I don’t begin strolling in and clicking. I quietly observe and take an image of an actual factor occurring. That’s like a tiger hiding within the bushes! 

[laughs] It is. And you’ve a Massachusetts connection:  Wellesley-born lighting designer Chip Monck, who additionally did Newport Folk Fest, requested you to {photograph} a live performance, and also you ended up because the official photographer of Woodstock.

Edward Herbert Beresford Monck. His mates referred to as him “Chip.” [laughs] One day in late July, my telephone rang in my kitchen in Laurel Canyon— that’s the way in which each journey began. He stated, “Henry, I’m out here in New York. We’re going to have a huge concert in a couple in a few weeks. You oughta be here!”
I stated, “Look, Chip, I’ve read about it, but I don’t know those people. How am I going to get a photo pass?” He stated, “I’ll talk to the producer.” Next day, Michael Lang referred to as me. He stated, “Chip says we need you. I’m sending you an airline ticket and $500.” Click.

Woah.

That was all he stated!

[laughs] Amazing.

I used to be there for 2 weeks whereas they bought prepared earlier than the gang confirmed. It was like summer season camp. All these hippie carpenters hammering, constructing, sawing by a subject of alfalfa. Then the Hog Farm [founded by Wavy Gravy] confirmed up from New Mexico, and arrange kitchens. I’d {photograph} all these individuals who had been additionally my folks. [laughs]

What’s your favourite Woodstock shot?

Jimi Hendrix was supposed to shut the present Sunday evening, however they had been so backed up that he didn’t go on till early Monday as daybreak was breaking. To stand there subsequent to him on the stage was wonderful. 

Then he began taking part in “The Star Spangled Banner” which was puzzling. What’s he taking part in the nationwide anthem for? We had been all anti-war hippies. Peace and love. Certainly towards the entire concept of going over to Vietnam and killing strangers. I keep in mind pondering, “That’s not our song. That’s Nixon.” But as he began placing in sound results [makes guitar sounds] I used to be like, “Wow, maybe he’s reclaiming it.” That second was wonderful.

Wow. James Taylor is native to Boston. How did you get linked with him?

The telephone rang in the future in ’69 and it was Peter Asher. I knew him from The Troubadour. Peter had simply come over from England, [working] for [The Beatles’] Apple Records. He stated, “Henry, I’m producing this new guy, and we need publicity pictures.”

I knocked on Peter’s door. He stated, “Oh, he’s in the living room.” I walked in and James Taylor is sitting on the ground close to a grand piano, finger-picking “Oh! Susanna” on guitar.  It appeared like a music field. It was so stunning. That was my first second of , and listening to, James Taylor. It was mesmerizing, the way in which he picks. I bought down on my knees and took a number of footage of him finger-picking.

Then for higher gentle, we went to my buddy’s commune. James was standing close to the shed, by a tall put up. And he’s a tall man. He put his arms on the put up. And it regarded so good, the way in which he stuffed the body.  Peter Asher noticed that image, and it grew to become the album cowl. So it was an accident.

Another fateful accident.

It’s humorous, the universe was on my aspect. [laughs] Same factor with Crosby, Stills & Nash on the sofa.

Right. It was initially for publicity images, not the album cowl.

I knew all three. These well-known musicians had been going to make a super-group. They wanted publicity photographs. So we went out with Gary in his ’56 Ford station wagon, hopping out right here and there. We discovered this previous home with a sofa in entrance. They simply jumped on the sofa spontaneously. I took footage. 

Publicity photographs had been all black-and-white in these days. But I took colour [for my slideshow]. When they noticed it, they stated: “Wow! That would make a great album cover. But we’re sitting in the wrong order, because since you took that picture two days ago, we decided to call ourselves Crosby, Stills & Nash.” They had been initially going to be Stills, Nash & Crosby. 

I stated, “Let’s go back. It’ll take five minutes.” We bought in Gary’s station wagon— however the home was gone. Flat. Bulldozed to construct a parking zone. Like that tune Joni wrote.

Yes! I used to be simply going to say, “Pave paradise, put up a parking lot.”

[laughs] The tune wasn’t about that, nevertheless it suits completely. 

The principle behind a variety of your work appears to be: Have an journey, see what occurs, doc it. It does match that tiger-in-the-bushes vibe. You instructed me in regards to the first Eagles album journey. What’s the story behind your second cowl for them, “Desperado”?

Gary knew this previous ghost-town — a Western film set out within the Santa Monica Mountains, in Agoura. The Eagles spent a day on this derelict city taking part in cowboys with their mates Jackson Browne and J.D. Souther. We had actual weapons with film blanks. They went bang! They began taking part in cowboys, capturing at one another, grabbing their chests, falling down within the grime.

Suddenly, hearth engines got here. A cloud of smoke [from the blanks] was rising within the Santa Monica Mountains, and somebody thought the hills had been on hearth. 

Your tales are unreal.

[laughs] It was enjoyable.

You’ve additionally bought nice Neil Young images.

Neil Young was buddy of Gary’s. We’d go to his Broken Arrow Ranch for a weekend, stroll round. Of course, we had been at all times smoking God’s herb. I can say that now that it’s authorized.  It wasn’t authorized within the early ’70s, however each musician smoked it. We’d smoke an enormous fatty and take a look at llamas and geese.

[laughs] I find it irresistible.

One day Neil needed us to go on this barn the place he had a terrific guitar stashed. I rotated, he was standing within the barn door with this little farm canine — it’s only a nice shot. Once once more, by accident. Most footage I took weren’t deliberate.

What slides stand out to you now, as you convey these slideshows to Boston and New Hampshire?

Joni Mitchell lived close to me in Laurel Canyon. She wanted publicity images, so we went to her home. We walked up the steps; she was sitting within the entrance window ready. Gary began speaking to her for 5 minutes, and I took some footage. So pure. Nobody even observed.

With all these tales and accidents, it does really feel, such as you stated, like destiny guiding you to bear witness.

Photography, it’s a cause to be there. Permission to hang around and watch. I’m grateful to the universe for giving me that. Being a photographer was like having a passport into fascinating folks’s lives.

One time Rolling Stone referred to as up. They stated, “Henry, what are you doing today? I said, “Oh, nothing.” They stated, “Could you fly to Las Vegas, go to Truman Capote’s house, and take a picture of him? We have a story, but no cover.”

As I knocked on Truman Capote’s door, I believed: What the hell? I learn his brief tales in faculty — now right here I’m knocking on Truman Capote’s door? How random is that? How fabulous is that? 

I learn the Indian gurus. Swami Satchidananda Saraswati did the morning wake-up in his orange gown at Woodstock. In  “The Golden Present” he says: We’re all right here to be taught. But it is best to consider your self because the solely pupil, and everybody you meet is your instructor.

Wow. That’s profound.

I take into consideration these issues rather a lot: What is life? What are we alleged to do? I used to be a psychology main on the University of Hawaii as a result of I used to be : Who are we? What is the explanation? Reading these Indian gurus solutions a variety of these questions. I might take a look at it that manner: Gosh, how fantastic that this occurred.

Meaning you take a look at your life as a photographer that manner?

Yeah. From choosing up a digicam, to being in Laurel Canyon, to those album covers. Why would that occur to me? That’s fairly a coincidence. Or are there coincidences? Maybe it was my divine plan right here on Earth. 

For extra occasions, data, and pictures see henrydiltz.com.

 Lauren Daley could be reached at [email protected]. She tweets @laurendaley1, and Instagram at @laurendaley1. Read extra tales on Facebook here.