At 98 years old, Jerry Schatzberg stands as one of America's most influential photographers and film directors, having shaped the visual aesthetic that defined the 1960s. Known for creating Bob Dylan's iconic "Blonde on Blonde" album cover and directing acclaimed films like "The Panic in Needle Park" and "Scarecrow," Schatzberg has built his legendary career on a simple but powerful philosophy: establishing genuine human connections before ever picking up a camera.
This fall marks a historic moment as Schatzberg's entire photographic archive becomes available to the public for the first time through the Morrison Hotel Gallery. The collection features his stunning portraits of cultural icons including Jane Fonda, Edie Sedgwick, The Rolling Stones, Bob Dylan, Jimi Hendrix, and Diana Ross. "It always works better when you know people," Schatzberg explained with a characteristic grin. "It makes them feel more at ease, and they'll surprise you with what they're going to do."
Schatzberg's approach to photography differs markedly from his contemporaries. Rather than focusing solely on what appears in the viewfinder, he prioritizes building relationships with his subjects. This methodology became evident during our interview when he invited the journalist for coffee to get to know them personally before the article's publication. Whether working with models like Peggy Moffit and Sharon Tate or music legends, Schatzberg speaks of his subjects as close friends rather than mere professional acquaintances.
One of his most memorable fashion shoots exemplifies his unconventional creative process. Walking into Central Park with model Peggy Moffitt, who worked as a house model for a California designer, Schatzberg found himself searching for inspiration. "We couldn't think of anything right away, and I said, 'What do we do in a park? You read, you walk the dog,'" he recalled. Within thirty minutes, his assistant had procured a live chicken, which they leashed with string for the high-fashion model to walk through the park. "I always look for something that's a little bit odd—something someone would ask a question about," Schatzberg explained.
His serendipitous encounter with an elderly woman in Central Park demonstrates how Schatzberg's keen eye for the unusual creates unforgettable images. As he set up his camera to photograph the woman with her shopping bag, she suddenly reached inside and pulled out a six-foot-long snake. "It was a lucky photograph," he admitted. "But you look at a picture like that and say, 'Oh my god, how'd he do that?'"
Schatzberg's connection to the music world stemmed from his part-ownership of a popular 1960s discotheque where major artists regularly gathered. Diana Ross frequently visited with The Supremes, leading to both solo portraits and dynamic group shots featuring The Animals and Motown founder Berry Gordy dancing with his wife. "We had a lot of fun, let's put it that way. The club was very popular. These people all came down just to dance, and the music was fantastic. We didn't disappoint them."
His relationship with Bob Dylan began at this same club, where the rising star would hang out with friends before Schatzberg would take him to other venues. Club owners loved having Dylan present because "he was really on the way up, and people loved his music." Schatzberg observed how the press initially showed little respect for Dylan until his stardom became undeniable. "They would tell him to do silly things. And he'd put it off on them, telling them, 'Don't make me the fool. You're the fool.'"
The photographer's method with Dylan exemplified his broader approach to celebrity portraiture. "Often, I'd ask someone to come in about a half-hour early. We'd go into my office and just hang out and talk and become friendly," Schatzberg explained. His Manhattan East Side shoot with Dylan proved particularly successful because of their established rapport. "He was really very cooperative, so we got along very well, and that's very important if you're going to photograph somebody." Looking back, Schatzberg notes that Dylan appears smoking a cigarette in almost every photograph from their sessions.
One of Schatzberg's most complex shoots involved Edie Sedgwick and inadvertently created tension with Andy Warhol. After being asked by Dylan's manager Albert Grossman to photograph Sedgwick, Schatzberg encountered Warhol on the street and mentioned the upcoming session. "I noticed that his whole face and attitude changed, because he felt Edie was his property and he didn't like the idea of other people stepping into where he should be," Schatzberg recalled. Warhol subsequently requested to photograph Schatzberg photographing Sedgwick, which led to another photographer asking to document the entire process. When thirty to forty people showed up at his studio, Schatzberg moved the actual shoot to his dressing room with only Warhol, the female photographer, and Sedgwick present.
The Rolling Stones session occurred during their first trip to New York, featuring the band in drag at a location around the corner from Schatzberg's studio. The extensive preparation included makeup application and costume changes, all thoroughly documented. Schatzberg deliberately included a star from his childhood Bronx apartment window, explaining, "There was a war on, and if you had somebody in the Army or Navy, you'd put a star in the window." The photograph was set up to appear earlier than its actual date, with the band enthusiastically embracing the drag concept while Brian Jones was still a member.
Schatzberg's nude photography series with Faye Dunaway required careful negotiation and trust-building. Initially agreeing then reconsidering, Dunaway called to decline the nude shoot. Schatzberg proposed a compromise: "Why don't you come in, let me take a picture of what I'm thinking, and if you don't like it, we don't have to use it." The resulting images pleased Dunaway so much that she approved their use. "If I gave her a daisy, she'd know what to do with it. She did the whole setting up," Schatzberg remembered.
The iconic Mothers of Invention album cover emerged from Frank Zappa's admiration for a Beatles cover Schatzberg had created. Zappa contacted the photographer directly, suggesting they collaborate on something similar while inviting Jimi Hendrix to participate. The session featured Zappa's pregnant wife and band members in drag, though the image shown represents only half the finished cover artwork.
Schatzberg's relationship with Sharon Tate and Roman Polanski began when he approached the director at Lincoln Center despite having a broken leg. "I hobbled over to him and told him I'd like to photograph him. He looked at me, looked at my leg and he said, 'Okay, let's go.'" This initial meeting led to both studio sessions and a professional relationship that saw Schatzberg employ Polanski's cameraman in four of his films.
One of his most psychologically revealing photographs captures Jimi Hendrix in his Forest Hills Stadium dressing room, looking into a mirror while combing his hair. Schatzberg recognized the moment's significance immediately: "If you take the mirror out, you don't have any photograph. Just blank space, and then an abstract shape on the side." The image allows viewers to interpret Hendrix's motivations, whether ego, grooming, or final preparation before performing.
Schatzberg's transition from photography to filmmaking drew heavily from his modeling world experiences. His relationship with a favorite model named Anne, whom he cared for during an illness, provided the foundation for "Puzzle of a Downfall Child" starring Faye Dunaway. "In that meeting, I learned a lot about her, about her childhood, what she went through in different times," he explained. After recording Anne's stories, much of the film's content reflected her real-life experiences, exploring the relationship between photographers and models.
His street photography origins trace back to his first job search, when a potential employer asked about his camera equipment. Admitting he owned none, Schatzberg received a Rolleiflex recommendation and borrowed money from his mother for the expensive purchase. "Once I got it, I just started walking the streets and recording what I thought was interesting," he recalled. This approach led to spontaneous captures like a young girl with a balloon at Radio City Music Hall.
The 1960s represented a transformative period that Schatzberg considers himself fortunate to have documented. "The 60s was a big time for change, and we were lucky to be a part of it. There were some really interesting people," he reflected. Many of his subjects belonged to Warhol's Factory group, and the era's magazines eagerly published his unconventional work. "In the 60s, we had a lot of freedom. The magazines were interested in the photographs, so we had a lot of fun."
