Coinciding with the theatrical release of Tom DiCillo’s well received documentary, When You’re Strange, Idea Generation and Morrison Hotel Gallery recently showcased the insightful photography of Bobby Klein, Henry Diltz, Joel Brodsky and Ken Regan covering The Doors and their enigmatic lead singer Jim Morrison; from their first, self-titled, album in 1966 until 1970’s Morrison Hotel.

The Doors, formed in 1965, captured the rawness and energy of California’s baby boom generation. The psychedelic movement’s liberal attitude towards sex and drugs quickly caught the attention of the police, rallied by public concern over the ‘corruption of the youth’. This and The Doors’ controversial music and performances saw them targeted; promoters would avoid them and venues declined them, despite their appeal.

Visitors to the exhibition were greeted by Joel Brodsky’s renowned ‘Young Lion’ (1967) photos. Brodsky captures a shirtless, drunken Morrison full of youthful ardour and messianic grandeur. Brodsky and Morrison’s best known picture, featured on the cover of the 1985 The Best of The Doors, defines the cult of Jim Morrison that exploded following his 1971 death. Subsequent merchandising has seen the defining image regularly reproduced.

Jim Morrison, NYC 1967 I, Joel Brodsky

There really hasn’t been a major male sex symbol since James Dean died and Marlon Brando got a paunch. Dylan is more of a cerebral heart throb and The Beatles have always been too cute to be deeply sexy. Now comes along Jim Morrison of The Doors. If my antennae are right, he could be the biggest thing to grab the mass libido in a very long time. I have never seen such an animalistic response from so many different kinds of women.

—Howard Smith, Village Voice, 1969

Bobby Klein, The Doors’ first professionally hired photographer, shot the band’s early publicity shots across California. The iconic Bronson Caves, Redwood forests, San Francisco Bay and Venice beach inspire the folk ascetic the band promoted as they and their listeners searched for something new to inspire them.

Life Preservers, 1967, Henry Diltz

Each generation wants new symbols, new people, new names. They want to divorce themselves from their predecessors.

—Jim Morrison

Henry Diltz profound photos are a result of his involvement in the psychedelic era that defined 1960s California. As a founding member of the Modern Folk Quartet, Diltz was easily submerged in the world of music and his friendship with The Doors provided intimate candid shots. Despite Diltz lack of formal training his documentary-style photos effectively penetrate the band’s characters as they honestly interact with their surroundings.

The Doors, Los Angeles, CA 1969, Henry Diltz

We went into the bar and had a beer and started talking to the local guys. Jim really liked to hear them talk about their life story because he was a writer and a poet and he was very interested in hearing people. I always use the work “bemused”. Jim was bemused. He was quiet; as an observer and a poet, he would drink it all in.

—Henry Diltz

The Doors: When You’re Strange showed well-known and beautiful prints of one of the world’s most iconic bands alongside lesser known archives and previously unseen contact sheets taken over the decade the band were together. Both Diltz and Brodsky capture the band at their most intimate. 

Source: Culture Wars