There's a reason over 250 album covers bear Henry Diltz's eye. He wasn't hired to document a scene; he was already part of it.
Woodstock. The Laurel Canyon circle. The Doors on Venice Beach, caught on 16mm when nobody was thinking about posterity. Diltz moved through all of it with a camera and without an agenda, which is exactly why the images feel less like photographs than like memory.
Harrison Ford put it simply: the man has a "framing jones." It's hard to argue.
This weekend he brings his large-format slideshow to The Center for the Arts in Grass Valley. The pictures are worth the trip on their own. The stories Diltz tells in person, about who was in the room, what was happening just outside the frame, are what make it something else entirely.
Tickets on sale now!
