“I was the lens that captured the image Prince wanted to convey to the world” – Rolling Stone

An interview from September 2020.

The most famous images we know of Prince come from him: Jeff Katz. The American photographer photographed the superstar between 1985 and 1996. These include album covers such as “Sign O’ The Times” and “Parade”, concert photographs and intimate close-ups that show Prince as a person as he has never been seen before.

Mr. Katz, which photo shoot with Prince was your favorite?
What was special about Prince was his unpredictability. Every year he presented a new concept, a new look, a new hairstyle, new colors, new costumes. When I visited him in Minneapolis, I never knew what he would look like. The almost paradoxical feeling arose of photographing the same thing every time, but then again a brand new artist. But my favorite shoot was perhaps my first with him: when I visited him in the south of France in Nice in 1985, where he was filming “Under The Cherrymoon” and I photographed him for the soundtrack album “Parade”. The image that became the cover was taken during my first 1:1 session with him. It was also the beginning of my career back then. I didn’t know back then that this picture would adorn the record sleeve. But it was always like that: there was never the answer, “let’s do the album cover!”. I would always be surprised by what subject Prince would choose.

How did you get the job?
The “Parade” session took place in September 1985. I began my career in 1982 shooting directly for Warner Brothers and the major venues in Los Angeles such as the Hollywood Rose Bowl. Prince’s record label Paisley Park released the band’s debut album The Family in the spring. Prince wanted to be involved in the photography for this project – Warner asked me to help him shoot the images for the booklet. Prince seemed to like that. Shortly afterwards I got the call telling me to fly to France. He wanted me to be his personal photographer. Mind you, this wish was expressed at a time when I had not yet taken a single picture of him.

Was it a challenge to shoot the “Sign O’ The Times” cover, which unlike “Parade” featured not just a person, but a person with additional hidden object elements?
No, not at all. But it should not be forgotten that there was no Photoshop back then. Everything had to be set up and put in place. We couldn’t digitally change or recompose anything. Every element is real. We got most of it over from Prince’s house and his recording studio. More and more, more and more. The shooting took place at the Dinner Theater in Chanhassen, an event venue. The “Parade” cover impressed with strong black and white contrasts. It also looked a little like Old Hollywood. “Sign O’ The Times” was psychedelic. It reflected the variety of styles and dynamics of the music. At some point Prince stood in front of my camera and I pulled the trigger. The cover was finished.

Did he say why he only wanted to show half of his face on the cover, and only blurry?
We never have these kinds of conversations. There was also no advance information about the productions. Same with the “Sign O’ The Times” tour book. Prince did not share which images he would like to use for what. But I never thought about it. That didn’t mean that I didn’t make any suggestions as to which shots I liked. As soon as I arrived, the non-stop shooting began, with him alone or with his band.

The “Sign O’ The Times” single cover had some fans thinking it depicted Prince – even though the person covering her face with a heart is clearly female. How do you remember the recordings?
After “Parade” and the tour there was a break. The cinema world premiere of “Under The Cherrymoon” was strange: the American premiere city was actually chosen and Prince and his film crew would stop by there.

The lottery fell on a small Midwestern town, Sheridan.
A little nest in the Wild, Wild West! A cowboy town in Wyoming. This also made it clear that this draw was not fake. The nest couldn’t have been more remote. At that time I had already had many pop stars and actors in front of the camera. At the end of the year Prince called and asked: Can you come back, the next session is coming up! In January 1987 his Paisley Park complex was still in the middle of construction, we took the photos in his warehouse near Paisley Park, which was also where rehearsals for the “Sign O’ The Times” tour took place. The room where the recording of the single took place was empty. I photographed Cat, the mirror and Prince.

“It was a magical process looking at the photos together”

Had their relationship changed over the years?
Prince really trusted me. I understand him quickly. He didn’t like it when too many questions were asked. You had to try to read his mind. It’s not that he didn’t talk much. But it was important to anticipate how he wanted to be photographed. Regardless, he was open and experimental. Only with digital photography was it possible to examine images immediately. Of course that didn’t work with film. It was a magical process, looking at the photos together. Over the years I saw myself as part of his concept. And most of the time there were two of us. No assistants to also make suggestions.

The “Lovesexy” album cover is again by Jean-Baptiste Mondino.
Yes, my pictures end up in the tour book. I went for pop art colors, a mix of different styles. The “Lovesexy” concept of freedom of movement is reflected in this book.

It also included the first pictures of Paisley Park – they photographed Prince and the band in front of the cold, angular building.
I hadn’t photographed Prince outside in a long time. The last time before that might have been in the south of France, for “Under The Cherrymoon”. Sign O’ The Times contained only studio photography.

In the tour book you can also see the pictures that show him – perhaps for the last time – crossdressing, also with a female touch.
The photos in which he is wearing a police hat, yes. But you probably also know the photos contained therein, almost without make-up and with a five-day beard. Those were the first pictures. Then there was a break, and after a few hours Prince returned: shaved. And looked like a completely new person, crossdressing. I wasn’t prepared for this. But that’s exactly what it came down to: don’t ask questions, “Hey, how did you come up with that?” Just get started right away.

How did you and Prince get in the mood?
There was music on set. Often his own. The album he worked on. But also the songs of other artists.

Was he interested in the technical aspects of photography?
Never for the “how” or “why”. He didn’t just wear his annually updated look for the camera – it was his lifestyle. What was stage costumes for us was everyday clothing for him. This also had the advantage for me that I was able to familiarize myself with his styling for longer.

My secret favorite photo is from 1989: Prince in the “Batman” look and on roller skates.
Yes, the “Batman” phase. The picture was taken on the tennis court at his home in Chanhassen, near Paisley Park. I’m waiting for him. Then he came roaring around the corner. Well, there too we said, don’t ask any questions – just start taking photos. They laugh, but for me it was just exciting. Look, most artists are stage personalities. In real life they are not. Everything fell to Prince. He knew how to present himself visually dynamically, 24/7.

During their time together, Prince’s most erotic photos were taken – later, probably because he was getting older like all of us, he would publish less suggestive photos. Do you think Prince would have had completely different pictures taken of him if a woman had photographed him instead of you?
No. That wasn’t how Prince looked at the world. He was open to everything. He didn’t present himself any differently just because I was a man. Um, was uh. He didn’t care about gender. Look, as a live musician, Prince didn’t say whether he performed for men or women. Prince didn’t take the pictures for me. I was just the lens that captured the image he wanted to share with the world.