Gary James' Interview With Photographer
Charlyn Zlotnik
Charlyn Zlotnik has photographed some of the biggest names in the world of music. We're talking Bruce Sprinsteen, David Bowie, Johnny Cash, Linda Ronstadt, Willie Nelson, Waylen Jennings, Miles Davis, B.B. King, The Clash, Dolly Parton and The Rolling Stones. Her photographs have appeared in The New York Times, Newsweek, Time, Life and Rolling Stone. Charlyn spoke with us about her career.
Q - John Denver once said, "A great photograph captures the feeling of the moment." Do you agree with that?
A - Oh, sure.
Q - I knew you would.
A - (laughs)
Q - You started your career in Austin, Texas?
A - Yes.
Q - Were you photographing up and coming musicians?
A - Well, actually Willie Nelson had moved back a few years before. So it was some up and coming musicians, but it was Willie Nelson re-launching his career in Austin and all the related Outlaw people and the local bands. There was a lot going on then.
Q - You were doing what with these photographs? Selling them to newspapers, magazines, record companies?
A - Well, music magazines. Rolling Stone and the record companies were buying pictures. I was also working for Texas Monthly, so it was a combination I guess of all of the above.
Q - How long did you spend in Austin?
A - Well, I went to school in Austin, the University Of Texas.
Q - You took photography there, did you?
A - No. I took a class, but they didn't have a full photography department then. I was in the school's Communications and Journalism. I took a class learning the darkroom, how to print, and I was sort of hooked after that.
Q - So, you spent four years in Austin then?
A - Well, no one wants to leave Austin. (laughs) I moved to the University Of Texas in Austin and didn't want to leave. So, I was in and out of Austin for several years. I was traveling and working. Just being there and looking, there weren't many jobs available and I just started freelancing I guess. A lot of people do. You just go to clubs or here and there and start taking pictures and show the work to people.
Q - Did anyone ever say, "I'm sorry. You can't take pictures here"?
A - Not exactly. Not really. Not in the clubs. You could just take pictures. The problem with some of the bigger shows is that there were always security people telling you to move. Even when I had photo passes and would be onstage there would always be somebody to tell you to move. "Get out of the way!" But it was totally different then.
Q - At one point you moved to New York City. Why New York? Why not Los Angeles? I thought L.A. was the show business capitol of the world.
A - That's what I thought too. I thought it would be more logical 'cause I was used to having a car and driving and warm weather. I went to visit a friend with the idea of looking at it to move. I just realized there was more in New York and things were different then too because later on photo editors really wanted people in a lot of places, but I guess in the late '70s they were sending people out. If you weren't in a major city it was hard to get assignments. I guess the difference between L.A. and New York was there was so much more publishing in New York.
Q - Is that still the case today, or do you know?
A - I think with the internet, publishing is still here (New York), but after airlines changed a lot, it just became more expensive to send people around. That was one factor. So now I think you could practically live anywhere. It's not as much of a factor in what you do.
Q - You've photographed some high profile people. What was it like to photograph David Bowie or Johnny Cash or Bruce Springsteen or The Rolling Stones? Was it an easy assignment? Did they give you a hard time?
A - A lot of those were 'live' shows where you don't really interact with the artist. So, depending on who their publicist was, do you mean access or dealing with the artist themselves?
Q - Dealing with the artist themselves. Did they appreciate what it was you were trying to do? You are are trying to help publicize their live show or newest release.
A - I think it depends on where they are in their career. Nowadays they want more control and they don't want a zillion photographers to have pictures. Someone like David Bowie, I don't think it mattered because he was so big already. I think they appreciated a good good picture in a good publication. Who wouldn't? I was not actively doing this, the music part now, but what I hear from friends is access is really difficult. Mostly I think the artist has their own photographer to do all that. But yeah, some people I guess appreciated it more than others.
Q - If access is difficult today, where does that leave you? I realize you have a catalog that you've built up over the years. Do you showcase your work in galleries?
A - Yes. I was only doing music for about maybe eight years. It wasn't just music. Then I started doing news. I worked overseas in Southeast Asia, in the Philippines and India for news stories in the mid-'80s, so my music coverage has been very sporadic in later years. But yeah, I have pictures at Morrison Hotel Gallery. There's books that come out and there's interest in the old pictures.
Q - Do you ever have a slide show presentation of your photos where you'll speak about the artists you've photographed?
A - No. I haven't done that yet.
Official Website: www.czfiles.com
Annenberg Photo Space
https://facebook.com/charlyn.zlotnik
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