What has made Robert Plant such a photogenic figure to shoot?

He’s a person of positive energy. That always comes forth. He radiates positive energy.

Was that true of Zeppelin, too, with all the mythology that surrounded them?

They were so magnetic. They had so much energy. People just gravitated to it. Remember that kid in Almost Famous running around in a T-shirt that had the lyrics to “Stairway to Heaven” on it? He existed.

Anything from that time you regret?

My only regret from that period of time was the night before Zeppelin played the Forum, Queen played the Forum and they wanted me to come and shoot. I opted out to stay and hang at the bar with Zeppelin. I should’ve gone and shot Queen, then hooked up with Zeppelin, but I didn’t. That’s one of my shooting regrets: that I never shot Freddie Mercury.

Safe to say Led Zeppelin is a favorite?

I have a lot of favorites. With Robert and me it’s a friendship. I enjoy it because I have full access to everything. How do I explain Zeppelin back in those days? It was cosmic. They were mesmerizing.

Anybody you’ve shot that surprised you?

Of the newer ones, Grace Potter. She blew me away. She was a joy to shoot and watch. I go way back. I saw the Allman Brothers when they were in Hourglass, playing a little night club in Nashville. Gregg was underage; they had to get him in. Two of the first bands I shot live were Marshall Tucker Band and REO Speedwagon. Then, I was into Yes.

Anybody left you wish to shoot that you have not already?
Paul McCartney. George Harrison was the only Beatle I ever shot. With what I’ve got now I could put out a couple of books: one on Zeppelin and their solo stuff, and one on all of the bands I’ve shot—Joni Mitchell, Bob Dylan, The Who…

Did you ever shoot Jimmy Page after the Zep days?

I did The Firm and the Outrider tour. And, of course, I did Page/Plant in ’95 and ’98.

Are you always independent or are you hired by someone?

I have the rights to all my work. That was important, to have the rights. I started out trading my pictures with a promoter for tickets. I shot Bonnie Raitt warming up for Little Feat. A guy from a magazine in Memphis saw some of my work on the promoter’s walls and that’s how I ended up shooting the ’75 and ’78 concerts of the Rolling Stones. Before that I was a commercial loan officer. When I gave up cigarettes and got high for the first time, that was the end of that. My hair started growing. I loved music. I love photography. I thought I’m just going to combine the two of them. I’m still doing it.

Do you have a favorite venue?

Mahalia Jackson (Theater for the Performing Arts) in New Orleans. I like the Greek (in Los Angeles). I like the smaller ones. But that’s hard to answer.

Any preference between indoor or outdoor?

I prefer indoor. What I hate today is the LED lighting. It plays havoc with cameras. Let’s say there are blue lights—it washes everything, the blues and the reds. A heavy color is predominant.

Do you ever shoot on film anymore?

I haven’t shot film since 2005. I used to print all of my own stuff. I decided to go digital. I had to come into the future.

What does it mean to you that virtually everyone at a show these days has a camera in their phone?

It doesn’t bother me. Most are crappy, especially if they are on a phone. It’s what you do after the fact. I always would hand-print my stuff back in the old days. If it’s your creation you try to take it from the beginning to the end of the process to make it the best you could ever do.

Any advice for aspiring photographers?

It’s not like it used to be. It’s harder, but if the person is really passionate about it I tell them to stick with it. Don’t do it because you think it will be your livelihood. It’s a zoo out there these days. I like where I’m at: basically semi-retired.

What’s a key to your longevity?

I would never make anyone look foolish. As far as I’m concerned it’s a reflection of yourself and your own personality. I have respect for the music and for the artist. That’s just common courtesy.

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