![]() ![]() Luck found him standing near the would-be producers, Lou Adler and John Phillips, as they pitched the idea to the Monterey police department.Īdler was a very successful L.A. I had never seen people dressed like that,” he said. “A limo pulled up and these very rich hippies climbed out. One day, he spotted a short article about a proposed music festival to be held in Monterey. Gundelfinger lacked the necessary connections to make it happen but this was the 1960s anything was possible. I’m gonna be a rock and roll photographer and I’m gonna do album covers.’“ I looked at it and said to myself, ‘This is what I’m gonna do. “It was by the Mamas and Papas and was called ‘Deliver.’ It was a very animated cover. “I started to look at albums, and one caught my eye,” he said. Quite enamored of this new, exciting style of music, he wandered into a record store in Carmel one day to browse.Īt the time, he was teaching himself photography and possessed a firm background in design, but had not developed his own direction. While staying with a friend in Pacific Grove, he had the occasion to drive to San Francisco to see the Grateful Dead and Quicksilver Messenger Service. Rock and roll was just about to kick into high gear in early 1967. Gundelfinger was raised in the Los Angeles area, and went to art and design school in Chicago. There was one caveat to the conversation, “I just want to tell you, I cannot reveal where the house is,” Gundelfinger warned me, “the owner does not want it to become some sort of shrine.” (Today, the photographer works under the name Tom Gundelfinger O’Neal, but for the purposes of this article, we’ll use simply Gundelfinger, the name credited when the ‘Déjà Vu’ photo was taken.) He spoke at length about his career as a rock and roll photographer, and later as a commercial photographer. Gundelfinger, 78, was reached by phone while relaxing in his Carmel Valley home. The tree the band posed in front of was in the backyard of a home David Crosby was renting in Novato at the time. However, the groundbreaking cover photo, showing the band wearing period garb from the Civil War era, was taken by Tom Gundelfinger. Diltz shot those photos at the home of Stephen Stills and in the recording studios where the legendary album was cut. Called “Déjà Vu,” the album was released in 1970. It was a photo that millions of listeners poured over when it was released in 1969.ĭiltz also was responsible for the 19 photos inside the gatefold of their second album, or technically, the first album by Crosby, Stills, Nash and Young. The trio was captured sitting on a sofa in front of an old house in West L.A. One of the images that Diltz is best known for is the cover shot for the self-titled debut album by Crosby, Stills and Nash. The exhibit was open to the public for about one week, and was titled “California Rocks: Photographers who made the scene, 1960 -1980.” Out of a total of 70 images, it included eight photos shot by the well-known Los Angeles-based photographer Henry Diltz. The current exhibit at the Sonoma Valley Museum of Art has been shuttered by the COVID-19 pandemic. ![]()
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