SHUP-151000-WOLMAN.indd 76 CLASSIC ROCK CLASSIC Lacy, San Francisco, 1968. Francisco, San Lacy, PORTRAITURE MUSICIANSHOW TOCAPTURE IN PERFORMANCE AND PHOTOGRAPHER TIPS SHARES WOLMAN BARON ON 1968. Francisco, San Hendrix, Jimi CREATIVITY attack. attack. under be to seemed in believed you everything cover; take to time a was it trusted) be to not therefore (and older were you If obscene. consider worst, at and, understand not best, at might, parents your that music mind-blowing to listen and sex, have high, get to time a was it young, were you If a-changin’. were they times, The 1965. FRANCISCO, SAN 76 thing… other one just was there yes, oh And, interested? called be to magazine music consumer new a start to wanted he ambitions: big with reporter 21-year-old a Wenner, Jann with paired conference, roll ‘n’ rock a at assignment on himself found photojournalist freelance 30-year-old, successful, a Wolman, Baron district, Ashbury
Swept into this bipolar vortex after moving from Los Angeles to the Bay Area’s Haight- Area’s Bay the to Angeles Los from moving after vortex bipolar this into Swept |
OCTOBER | 2015 /PROFILE
and needed a staff photographer. Would Wolman be be WouldWolman photographer. staff a needed and Stone Rolling By Arthur H. Bleich H. By Arthur
not really really not SB: magazine. the to them deliver then and prints, and sheets contact [ISO] 800-1200—make ASA to pushed Tri-X film–Kodak I’d the show develop the After second. a of 1/250th to 1/60th of speeds shutter with f/2.8 or f/2 at shot usually I lighting, stage the on Depending exposure. determine to faces performers’ the of reading meter spot a took I concerts lenses. camera All settings were manual; at BW: then? SB: them. of ownership retain would I but photographs the of use unlimited have would magazine the Also, company. the in stock be would payment My processing. and film for reimbursed be to only asking free, for shooting and him with up hooking proposed I offer. compelling a was it but money of kind that have didn’t I invest. to grand ten WOLMAN: BARON SHUTTERBUG: Stone example, with Angus Young rolling on the the on Youngrolling Angus with example, for AC/DC, component.” “entertainment BW: heard? be to meant that’s something interpret visually you do How strategy. different a required SB: photographed. being about anxiety their lose would and pose, to forget would they and relax would They conversations. our during subjects my of lives the on focused I instead music; about talked rarely I themselves. about something more intimate, something me give would they that, do could I If ease. at subjects my putting about more BW: photograph? SB: concert. the at been have to like was it what of sense of readers the give to tried I performing. singing, playing, somebody of ecstasy the communicate to try made, being music the ofmoment peak a isolate to try music, the making musician the of process the shoot to You photo. try still a in itself music the of sound the capture can’t you since that doing to technique BW: each? approach you did How extremes. performances—two
You were assigned by by Youassigned were using you were equipment What Shooting performances, obviously, obviously, performances, Shooting Which were the best bands to to bands best the were Which
Those that had a visible visible a had that Those I was photographing For me, portrait photography was Mostly a Nikon F and its several several its and F Nikon a Mostly to shoot both portraits and hearing
And that was? that And it. There is a whole whole a is There it. He asked me if I had the music, a Stone Rolling Rolling Rolling 8/5/15 11:43 AM
All Photographs © Baron Wolman All Photographs © Baron Wolman SHUP-151000-WOLMAN.indd 77 to worry. to need no been had There Ferrari. red his in together riding went even and well really along got we But house. his to went I when expect to what know didn’t and nervous especiallydifficult, if you’re white, so I was really be could Miles that told been had I example. perfect a was Davis Miles picture. her or his taking about nervous was or subject my by intimidated indeed BW: assignment? photo a on subjects your of any by intimidated feel ever you Did with. deal to easy not were and status idol achieved they as SB: fantastic! just AC/DC, But again. over and over picture same the taking hours three for there stand couldn’t I move. wouldn’t and music own their on stoned get would BW: SB: photograph. his guitar—you always had something to with sex having he’d simulate knees, his on he’ddown go fire, on it he’d light back, his behind he’dit play guitar, his of neck the over hands his cross would Hendrix Jimi speakers. the of top on up climbing or floor his or her picture." or was nervous about taking intimidated by my subject when Iwas indeed moments were "There 1967. Francisco, San Who, The Townshend, Pete
Some rock stars became imperious imperious became stars rock Some interesting? least the And who Dead Grateful the like Bands There were moments when I was was I when moments were There SB: Duke Ellington, Ambassador Hotel, Los Angeles, 1972. Angeles, Los Hotel, Ambassador Ellington, Duke a rock star and get into his bed in a hotel hotel a in bed his into get and star rock a BW: SB: lights. two just and background women—seamless these all of photographs simple very issue, it became a became it issue, entire an become it did only Not story. a merited it thought I and chic of subculture and fashion mattered greatly. It was a style whom to those were attention my caught who ones The backstage. bands BW: about? come that did How “entertainment.” with members band provided who ladies the Groupies, on issue entire Mick Jagger, Rolling Stones, and actress Anita Pallenberg on the set of Performance of set the on Pallenberg Anita actress and Stones, Rolling Jagger, Mick
In 1968, 1968, In What did you find out about them? about out find you did What I learned how they would chase after after chase would they how learned I Women always hung out with the the with out hung Women always Rolling Stone Rolling milestone issue. I shot shot I issue. did an an did lost in the rapture of taking pictures and and pictures taking of rapture the in lost became often I successes. photographic BW: words? in it describe can you synergy—if that achieve you did How bonded. spiritually were artist the and you if it’sas them; in power high-voltage there’s created; ever best the of some are concert in musicians SB: belt. their in notch another achieving about brag and it about talk to able being was it moment; the but guy, the not Itwas am.” I where guess never say,“You’ll and friends their call phone, the up pick would they when this—was admitted all almost they and element— important most the But room.
Your images of rock ‘n’ roll roll ‘n’ rock of Yourimages I am reluctant to take credit for my my for credit take to reluctant am I SHUTTERBUG.COM , London, 1968. , London,
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77 CREATIVITY / PROFILE
found myself in the “zone”—as creative SB: You stayed with Rolling Stone BW: “Just tell me, did you sleep with Janis people often describe moments of extreme for three years, shot hundreds of Joplin?” And I always answer, “Well what creativity. The “zone” is a place where I felt performances and personalities and do you think?” And they say, “Oh man, the creative force flowing through me, not then left. Why? thank you, thanks, I appreciate that, it from me. That’s the best way I can describe BW: I wanted to move on to other subjects. means a lot to me.” I let them use their it. It was a totally amicable parting; I still imagination; I never say anything more, shot assignments for them after I left. But never go beyond that response! Never did SB: Any advice for beginning musical I found I was shooting the same pictures and never will. event photographers? over and over again—only the musicians BW: Musicians repeat themselves. Not changed. I went on to publish a fashion SB: Looking back on the rock ‘n’ only do they repeat musical phrases but magazine, then founded a book publishing roll scene that you so impressively in repeating the phrases they repeat their company, learned to fly and started to take documented, is there anything you body moves. So if you see a move you like, “airscapes” (aerial landscapes), then joined would have done differently? you can be sure that the same musical an auto racing team and so on. BW: Looking back at the pictures in phrase with its companion move will come my files I think, damn, I could have, back. Just listen carefully, anticipate its SB: When you meet fans who attended should have, taken so many, many more arrival and start shooting before it gets those concerts almost a half-century photographs. I never quite appreciated there because by the time you see it in the ago, what’s the question they ask you the wonderful opportunity I was given viewfinder, the moment will have passed. the most? to document and make a record of these people who were to become so important to the history of music as well as the history of our society. I guess I should have known; I just couldn’t see that far into the future. Who could? n
Baron Wolman, now 78, lives in Santa Fe, New Mexico. He recently sold the rights to his archives to Iconic Images of London so they may be preserved for future generations. His book, Every Picture Tells a Story…The Rolling Stone Years, has 175 pages filled with fascinating anecdotes and powerful images; about $30 at Amazon. com. Prints of his work may be ordered at: http://iconicimages.net/photographers/ baron-wolman.
Miles Davis behind the wheel of his 275 GTB Ferrari, New York City, 1969.
Sonny Rollins, Greek Theatre, University of Janis Joplin at home, San Francisco, CA, 1967. California, Berkeley, CA, 1969.
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