There will never be another period like the late ‘60s. Against a background of political upheaval, a social movement emerged that espoused peace, love, understanding, and even new forms of consciousness.
Moreover, the music of the era was a central component of that movement, with rock and roll evolving as an art form and becoming the medium through which such Utopian ideals were expressed. Many believed the world could be made over into something just this side of heaven.
Photographer Elliott Landy captures the spirit of those times perfectly in this wonderful book. As the original Woodstock Festival’s official photographer, Landy shot the iconic images that first spring to mind when one thinks of that seminal event.
From Joe Cocker in his tie-dyed pullover shirt, to the fans descending the metal sound towers, to the vast sea of humanity stretching from stage to horizon, Landy captured it all in images as vibrant today as they were 40 years ago.
Fully 90 pages of such photos are featured in Woodstock Vision, but those pages comprise just one portion of this splendid document. Prior to pursuing rock and roll photography, Landy divided his time between shooting peace demonstrations and (of all things) celebrity press parties. In a deft touch, Landy devotes the first section of the book to photographs of Britt Ekland, Marlene Dietrich, Elizabeth Taylor and the like, alongside shots of policemen brutally clubbing young demonstrators. The effect is to brilliantly convey the cultural backdrop against which the Woodstock generation emerged.
Even more riveting is the material that follows this section. Beginning with a series of amazing photos taken in 1968 at Fillmore East (including performance shots of Jimi Hendrix, the Who, and Jefferson Airplane), Landy devotes a sizable portion of the book to more intimate and candid material. In particular, his shots of Janis Joplin in “downtime” mode are heartrending, capturing the late singer in all her complicated guises. Conversely, Landy’s photographs of The Band, with whom he spent long stretches of time while working on cover shots for the group’s first two albums, capture the “deep wisdom and maturity” with which Landy himself describes the players.
Great as these portions of the book are, its highlights lie in a middle section titled, simply, “Photographing Bob Dylan.” Prefaced by a lengthy essay that describes his working relationship with the mercurial singer-songwriter, Landy offers a series of intimate shots that capture Dylan at his most casual, relaxed, and (seemingly) happy. It was from these photographs, taken from 1968 through 1970, that the famous shot for the Nashville Skyline album sprang.
Throughout, Landy intersperses “Woodstock Visions” with essay contributions written by organizers, performers, and fans who attended the festival. In a Q&A section, executive producer Michael Lang says, “We designed the festival so the music was no more or less important than any other element. The people were the stars ….”
Near the end of the book, one of the attendees describes the festival as “a manifestation of the divine in humanity.” Indeed, the story of how photographer Lisa Law secured free food for the multitudes brings to mind the biblical tale of how Jesus produced a feast from a few fishes and loaves. Revisiting the event and the era from which is sprang, via these pages, it’s hard to disagree.