The principal professional photographers of Bob Dylan (In alphabetical order)

This page was researched from various sources and makes no claim to be complete ! Some photographers' entries are awaiting further research. Anyone wishing to add to or correct any of these notes or make any enquiries otherwise on the Picture Archive project, please contact - stew@stewartgrant.freeserve.co.uk

See relevant year pages of the Archive for examples of these photographers' work - Please note that all images used on this site are for the purposes of review and comment, and therefore, according to counsel, are within the "fair use" provisions of copyright law. And, as per the recent outcome of Prince's lawsuit against a fan publication, it is believed this noncommercial project does not infringe on the artist's intellectual property rights. The copyright-holder's permission should of course be sought for any commercial use of the images, and contact information for the photographers is shown where known.

"The photographers who have shot Bob Dylan have been some of the all greats - in no particular order of importance, Daniel Kramer, Barry Feinstein, Jerry Schatzberg, Art Kane, Elliott Landy, Ken Regan, Jim Marshall, Richard Avedon, Don Hunstein, Amalie R Rothschild, Fred W McDarrah and many others have created some of the most important and enduring images of Dylan.Their archives contain untold riches that haven't seen the light of day. In fact it's probably true to say that these days, there is less known about the photographic archives than the recorded Dylan." http://www.snapgalleries.com/dylanmaingallery.html

Fillm-maker & photographer - Cameraman on both the 1965 and 1966 English tours; (Photographer on Don't Look Back) and co-editor (with Dylan) of Eat The Document and Renaldo And Clara.

Took the Street Legal cover photo 1978.of Dylan outside the entrance to Rundown Studios, Santa Monica, CA.The rear photo is also by Alk, taken live on stage during the Far East tour in early 1978 (The two photographs on the inner sleeve of the vinyl album were taken by Joel Bernstein in a night club in Melbourne, Australia, on the same tour - the man with Bob on the inner sleeve back is singer and guitarist George Benson.)

Alk also filmed several concerts on the 1981 tour including Avignon, France. Was co-owner of Chicago club, the Bear. He died in January 1982.

Other film credits - directed American Revolution II & The Murder Of Fred Hampton

From Schenectady, New York, his photographs appeared on many of the Impulse LP jackets, notably those of John Coltrane. Famous for his many photographs of jazz musicians, he also pioneered many techniques in capturing live performance. http://vancouverjazz.com/billsmith/photo/index.shtml

January 13-16 [1962] " Dylan stays at the home of Joe Alper in Schenectady, playing the piano and working on new songs. Alper takes several photos of Dylan performing in Schenectady and Saratoga Springs " Clinton Heylin, Bob Dylan: A Life in Stolen Moments, New York, NY, 1996, p. 26

Caffe Lena, Saratoga Springs, NY was one of these venues and photos of Alper's survive of Bob & Suze sitting with Lena and her cat. There is also a great series of them taken while staying at Alper's apartment, and of Dylan playing the piano there with Alper's daughter Jaye looking on.(One of these was used on Bootleg Series artwork)

Alper had a long association with Caffe Lena. "In May 1960, Lena and Bill Spencer opened a small cafe on Phila Street in Saratoga Springs, New York. 38 years later Caffe Lena is the oldest continuously running Folk Music Club in the United States. Bob Dylan and Arlo Guthrie played here before they achieved fame and fortune. "

1965 > " Oh yeah, so then there was a big benefit for the Caffe around that time at Albany High School. The Caffe needed to get the bathrooms up to code or get shut down. I played with the Greenbriar Boys at that show. Somebody taped the show (possibly Bill Spence?) but I never got a copy. I sure would love to. Bob Dylan even showed up, but he just was in the audience. I think I remember Tom Paxton performing, maybe Arlo, but I can't remember the rest of the bill, just that there were some pretty cool names." Neil Linden } http://www.caffelena.com

Bob Dylan : Through the Eyes of Joe Alper - This book of the late Joe Alper's photos of Dylan from 1961 to 1965 includes shots from various New York venues and many others taken at Alper's home in NY where Dylan stayed while on tour, and later shots such as Dylan playing electric for the first time at Newport. Most have never been published in any form before. Individual prints of photos are also available. More information here - http://www.dylanbook.com/

Dylan and his girlfriend Suze Rotolo spent 10 days staying with Joe and Jackie Alper and their family on Brandywine Avenue in Schenectady. Jackie was a folksinger and a sparkplug for the local folk music community. And fortunately, Joe Alper was a freelance photographer, capturing the pre-superstar Dylan in approximately 600 photographs between 1961-1965. Now Joe's son, George Alper, has gathered together a big batch of those photos in the brand new photo book, "Bob Dylan: Through the Eyes of Joe Alper." Of course, there have been dozens of Dylan photo books published over the years, but precious few if any are as revealing as these intimate, unguarded, black and white shots of Dylan relaxing around the house, eating breakfast, watching television and building castles out of wooden blocks on the living room floor. Also included are photos of Dylan performing around the Capital Region, in Greenwich Village and at the Newport Folk Festival. A few of Alper's photos were first seen by the general public in "The Bootleg Series, Vols. 1-3 (Rare and Unreleased) 1961-1991," the three-CD box set of Dylan rarities that was was released by Columbia Records back in 1991, but the majority of these photos have never been seen before.- Review by Greg Haymes - Times Union, Saratoga (August 14, 2008)

Publications -

Bob Dylan: The Recording Sessions 1960-1994 - Clinton Heylin / Joe Alper (Photographer)

Bob Dylan : Through the Eyes of Joe Alper - by George Alper (2008)

Richard Avedon (1923-2004]

Took a famous shot of Dylan in 1963 beside.NYC East River and another in Central Park early 1965.

Made a series of portraits of Dylan in 1997 one of which appeared on a Newsweek cover that year. Somewhat coincidentally, he and Dylan were both recipients at the Kennedy Awards in 1997 where they were photographed together.

Born in New York City in 1923.to Russian immigrant parents, the celebrated international photographer grew up wanting to be a poet. He discovered his true calling while working in the merchant marines, where he was employed to take mug shots of thousands of people. In 1994, he was quoted saying, "I've worked out a series of no's. No to exquisite light, no to apparent compositions, no the seduction of poses or narrative. I have the person I'm interested in and the thing that happens between us." (Sarah Valdez)\

Richard Avedon's fame as a photographer extends far beyond his illustrious fashion career, which began at Alexy Brodovitchs Harper's Bazaar in the 1940s. He's known for crisply focused, intensely lit black-and-white silver bromide images with white backdrops that force the specifics of a person's physicality into the foreground. Rather than hiding flaws, Avedon tends to force them center stage. Wrinkles, bags under eyes, and other "undesirables" become the very things that render a character interesting, not plastic.(Metropolitan Museum of Art preview)

'His various selves constitute not just a portrait of an artist but of American popular music itself.' In this year of Bob Dylan's sixtieth birthday and forty-third album, Love and Theft , more biographies have been published, further domestic details have been revealed, yet little is known about the man beyond his presence on the stage and his voice. Despite the never-ending tour, his enigma grows, based on his art of self-invention and his fervent denial of whatever mantle is thrust upon him.

At twenty he sounded like the greatest white blues singer ever recorded. His various voices were raw, tender and angry. He once snarled that he could sing like Caruso. His recent recordings include a duet with the bluegrass legend, Ralph Stanley, and a song, partly in Italian, for the soundtrack of The Sopranos . He has many disguises. Along the way his influences have been drawn from Nashville, Kentucky, Dublin and the Delta. He has been both Rock God and prophet in the wilderness. In this first age of the recorded voice, his has been one of the most prolific. He has changed vernacular language. His various selves constitute not just a portrait of an artist but of American popular music itself. Photographs of the man are nearly always inadequate. He escapes the net. His early Self-Portrait album, containing few of his own songs, but covers of Blue Moon and Copper Kettle , was adorned with a painted self-portrait. The album and its sleeve were no more than a mask. His portrait on his most harrowing album, Blood on the Tracks, camouflages his features in the grain of the image. Photographs appear to elevate him to icon or veil him.

The exception are those by Richard Avedon, who has famously penetrated the masks of celebrity He first engaged with Dylan in 1963 and returned to photograph him in Los Angeles in 1997 at the time of Time out of Mind -. Avedon was familiar with the multiple selves of artists. In the course of his rise as a celebrated fashion photographer and portrait photographer, his own various selves were being released. In an essay written in May 1970 to accompany an exhibition of his portraits in Minneapolis that summer, Avedon wrote, " I work out of myselves." He went on: " All these photographs are linked through me and each is like a sentence in one long inner argument" He confessed that after 1965 he could make no more portraits for four years. He had to start anew. He was experimenting with multiple portraits or an ongoing series recording the same face over the passage of time. The power of the method was movingly evident in his portraits of his father exhibited at the Museum of Modern Art in New York in 1974. Avedon's first book, published in 1959, was titled Observations

But Avedon wanted more than observation. He described his photography as if it was alchemical, involving a transference of part of himself. He wanted confirmation. " Because I don't feel I was really there," he wrote, "at least the part of me that was is now in the photograph. And the photographs have a reality for me that the people don't. It's through the photographs that I know them" So, too, it is through the photographs we might know Avedon. When in 1993 he published his epic An Autobiography, a self-portrait with the emphasis on the indefinite article, it was an assembly of nearly 300 portraits of others. It includes two significant pictures of Dylan.

On November 4, 1963 Avedon photographed Dylan on 132nd Street and the East River in New York. Dylan's face is very young, his head tilted and his eyes lined. The buckle of his belt round the faded Levi's forms a big D. A pen sticks out of the pocket of his shirt. His boots look worn beside a battered guitar case. This is Dylan in his first public incarnation, having come out of the mid-West and made it to New York. Dylan had invented a persona incorporating elements of an American myth\emdash the road and a wandering tradition followed by a quest to the hospital bedside of his idol, Woody Guthrie. Behind the invention lurked truth. Not only did he sing the Guthrie repertoire to the man himself, but at only twenty he was recorded on harmonica with Victoria Spivey and the great bluesmen, Big Joe Williams and Lonnie Johnson. He had shared gigs in Greenwich Village with John Lee Hooker. This was not just a white boy with an adopted drawl and a good twelve-bar pattern, he was playing the real thing and was recognized for it by those he emulated. An early account of his performances describes him as Chaplinesque, fidgeting through the ironies of his Talking Blues . His first concert, upstairs in a side room at Carnegie Hall to an audience of fewer than a hundred, was taped. He was a nervous but mesmerizing performer, sounding like a stand-up comic who occasionally broke from a laugh to deliver an impassioned, driving blues. A few weeks before the Avedon photograph he had played to a sold-out Carnegie Hall. He had moved on from the Village. His repertoire had shifted. He had already written and recorded A Hard Rains A-Gonna Fall, a prophecy layering Old Testament language with his apocalyptic visions. He had not only discovered the great lineage of American songs, he had found his own voice. He was twenty-two years old.

In the summer of 1963 Dylan travelled down to Greenwood, Mississippi and sang Only a Pawn in their Game , the ballad on the death of Medgar Evers, to the cotton workers in the fields. Civil rights were the greatest issue facing America. Dylan had performed beside Martin Luther King at the Lincoln Memorial. He understood the power of the broadside and was about to be transformed from balladeer to writer of anthems. He was unwittingly becoming a spokesman.

Early in 1963 Avedon went south to photograph the mental patients in East Louisiana State Hospital. In March he photographed Julian Bond and members of the Student Non-Violent Coordinating Committee in Atlanta. Three days after photographing a former slave in Algiers, across from New Orleans, he returned to New York to photograph Malcolm X. Two days after photographing Dylan in New York, he photographed Governor George Wallace. His photographs of racists and civil rights workers appeared the following year in 'Nothing Personal', accompanied by a text written by James Baldwin. In retrospect, the historical momentum of the year is daunting. Within three weeks of the Dylan portrait, John F. Kennedy had been assassinated. Any youthful innocence of the postwar years had vanished.

On February 10, 1965, beside Central Park, New York, Avedon made a second portrait of Dylan. In the interim, Dylan\rquote s trajectory had left a trail across American music and according to the photograph on the man himself. He had been lauded in Europe. His shirt and suede jacket look like he's been down Carnaby Street. His frame is gaunt, his boots big, his eyes deeply ringed, and his head slightly stooped under the wild mane. Avedon's portrait is a study in the price of fame or the sheer weight of accelerated creativity. Dylan is finding his stride in the middle of a tumultuous decade. He has left a lot behind. His wild, mercury sound is yet to come. The previous month he had recorded Bringing it All Back Home. The great electric trilogy of albums, including Highway 61 Revisited and Blonde on Blonde, had begun. He was about to hear the booing. His output was furious. There is no trace of a smile. He is, of course, impossibly cool.What seems like another lifetime lies between Dylan's creative climax of the Sixties and a further Avedon portrait a passage from youth to middle age. Dylan crashed a motorcycle, withdrew, became the father of a large family, adopted biblical language and morality, recorded in Nashville, went down to Durango to work as an actor in Peckinpah's 'Pat Garrett and Billy the Kid' , playing a character called Alias, made a film about Bob Dylan and called himself Renaldo, separated, divorced, hired Elvis's bass player, stood on the stage as if it was a pulpit, recorded a multitude of new songs and released albums of cover versions, both profound and banal. A vault of unreleased material is rumoured to exist the secret Dylan. Now his solace appears to be to go out on stage. Although the huge repertoire is largely defined, he flourishes through rearranging his past songs. No two performances are alike. He can wear any of his various selves if there is sufficient adrenalin to carry him.

Avedon ended the Nineties in a retrospective mode. The Sixties , his collaboration with the writer Doon Arbus, a portrait of a decade conceived some thirty years before, was published in 1999. The two pictures of Dylan were essential to the project. Then in Los Angeles on September 11, 1997 he photographed Dylan again. The result, when placed with the previous pictures, forms a triptych. Maybe they fulfil what Avedon was looking for when he gave up portraiture in 1965 the subject through time, the observation of the oncoming of age..

In the text accompanying the final portrait, Dylan, looking back, says: " I'm still the same. I'm still the same person. I still feel like the same person. The music I listen to, it's still the same music, a whole list of names of people who aren' t around anymore, you know? Those people, they were the first. They were like the clue to it. That was the world I came East to find, which was like a long odyssey in itself, just trying to get there. And these people I'm speaking of, they knew about the older people who'd been there in the Forties. And the Thirties. That stuff was real obscure, but they knew what it was and they had the stuff, they had it. I knew it rubbed off on me. In a big way."

Despite the trajectory and the legend surrounding it, Dylan confirms his constancy. His passion for his forebears has never been concealed. He openly declared it in his first song, Song to Woody . Before the success of Time out of Mind , he had released two stunning solo records which included material ranging from versions of Delia, Sitting on Top of the World, and Blind Willie McTell's Broke Down Engine to songs by the Mississippi Sheiks and Irish ballads. By 'Time out of Mind' his sound, despite the virtuosity of the musicians and the production, was still that of one man and a guitar located somewhere well south of Memphis. At the beginning he admitted he couldn't carry himself like the masters. When, as a twenty-year-old, he sang Fixin to Die , how could he have known the loss that enabled Bukka White to write it? At the time of Avedon's third portrait he'd become what he'd set out to be. He could carry it. The picture is reduced to his face against a white background. The loss and beauty that touched his predecessors have marked his face as surely as they marked his voice. The weary eyes stare back at Avedon and at us. To make a portrait of a figure so enigmatic, a composite had to be constructed. Avedon's pursuit of the single face over time provides a revelation no others have achieved. Dylan's face became a sentence in Avedon's inner argument. He too has seen Dylan's world of paupers and peasants, and princes and kings . The final portrait of Dylan has yet to be made. It will be prescribed by his voice not his face. It will stretch from the depths of the Delta, through the ballads of Kentucky and Virginia, along Highway 61 to Memphis, and all the way to Chicago and the north country. Such is the power of one man and a guitar. In Dylan's selves, of course, we see our own. His voice is played out against the shared background of tumultuous decades. Such is the power and the burden of an idol."

Innumerable published works, illustration credits.and awards - one with particular musical interest.is "Avedon - The Sixties" by Richard Avedon and Doon Arbus, Random House, Inc.1999

Official website - http://www.richardavedon.com/menu.php

Page and index on Avedon - http://www.ocaiw.com/catalog/index

Photo-session in 1986. Renowned English photographer.

Famous series of early photos in 1962, taken on rooftop yard of Cohen's New York City apartment.

Photoshoot for Self Portrait 1970, some of which were used on album cover.

From review of Young Bob - "In 1962, a young John Cohen and the young songwriter Bob Dylan went to Cohen's East Village loft and rooftop for a few hours to make some photos in "a moment of invention without planning, and with the freedom that comes from uncertainty," recalls Cohen. The never-before-published, black-and-white photographs in Young Bob: John Cohen's Early Photographs of Bob Dylan reveal the soon-to-be-legendary musician of the cusp of fame, just before the release of his revolutionary self-titled first album. "These are pictures from a more innocent time at the beginning of Bob Dylan's career," Cohen recalled. "this is what he might have looked like when he first arrived in New York. the making of these photographs was quite naive. We weren't into creating a persona for Bob. I was more interested in documenting what was before the camera, and what I was seeing wasn't so clear. The session was just a free-flowing pursuit of picture making and taking poses. We didn't know what he was going to look like."

To complement the images, Cohen has painstakingly transcribed and edited forgotten radio interviews that aired between 1961 and 1963. The interviews conjure up voices from the past, where you can hear a youthful Dylan joking and quipping with WBAI's Cynthia Gooding, WNYC's Oscar Brand, and WFMT's Studs Terkel. With a flourish of color, Cohen's recently rediscovered Ektachromes shot in 1970 for the album "Self Portrait" appear at the end of Young Bob. These finely constructed "self portraits," art directed by Dylan himself, offer a contrast to the uninhibited loft and rooftop photos and serve as a reminder that just a few years later the famed persona of Dylan had truly been formed and that the young Bob we caught a glimpse of on Cohen's rooftop was now and forever gone."

Born in 1932 in New York City, studied photography and painting at Yale under Josef Albers and Herbert Matter. His photographs are in the collections of The Museum of Modern Art, The Metropolitan Museum of Art, and The Brooklyn Museum of Art, New York, as well as The Corcoran Gallery of Art, Washington, D.C. Cohen studied photography and painting under Joseph Albers and Herbert Matter at Yale, and his images have been published in Rolling Stone, Vanity Fair, and Aperture. Cohen's award-wining films have been screened worldwide and his band, The New Lost City Ramblers, has received several Grammy nominations.

A former professor of Visual Arts at SUNY Purchase, New York, from 1972-1979, Cohen lives in Putnam Valley, New York. John Cohen helped form the New Lost City Ramblers in 1958, and has performed and recorded with them ever since. Their approach, which is based on rural home music, is known as "old time" or "Appalachian," and their campaign for this music placed them in the spotlight at the Newport Folk Festival (1959), as well as in many concert tours, club appearances and recordings. Comprised of Mike Seeger and Tracy Schwarz (who replaced Tom Paley in 1962) the NLCR changed the direction of the folk music revival, steering it away from commercialized acts like the Kingston Trio, and towards the performance of traditional music in authentic styles. It has been said that the Ramblers introduced the idea that city musicians could play and sing in the traditional styles, and in this way they opened a path for many other musicians to follow.

Many music articles for Sing Out Magazine and others.

Young Bob - John Cohen's Early Photographs of Bob Dylan - powerHouse Books; 2003

Book of the Beat - Rolling Stone,1999

There is No Eye - powerHouse Books 2001 & 2003

There is No Eye - Music for Photographs - Recordings of musicians photographed by John Cohen -November 2001 Smithsonian Folkways Recordings SFW CD 40091 - various artists; 23 tracks, including 7 previously unissued; produced by John Cohen

Review of "There is No Eye" - "More than 130 sensitive and moving black and white photographs that provide a virtual lesson in 1960's cultural history, this exhibition includes images of Jack Kerouac, Franz Kline, Red Grooms, Woody Guthrie, Doc Watson, and an extrememly young Bob Dylan, among others. Cohen, former Professor of Photography at Purchase College, SUNY, is also a musician, 1958 co-founder of the New Lost City Ramblers, a folk string band, and a regular writer for Sing Out Magazine" http://www.johncohenworks.com/music/upcoming.html

Biography - Remembering the High Lonesome - film by Tom Davenport 2003

Agency - represented by Deborah Bell, New York, NY. 212 691 3883

Photographer with Rolling Stone - Series of shots in Los.Angeles, 1999 & early 2000, some of which were used to promote "Things Have Changed".

Photo-chronicler of the early sixties Boston folk scene. Series of photos taken on Dylan's college tour in spring 1964 - others of Dylan with Mimi & Joan Baez & their mother in 1965. Also other photos from Newport Festival 1965

John's serious study of photography began at the Putney School in Putney, Vermont, a boarding prep school that was co-ed and progressive ahead of its time, strong in the arts then and now. There, John began to develop and print his own pictures and he undertook his first thematic photo project - shooting the modern dance class in rehearsals and performance. The result of this early work was a fascination with photographing the performing arts that has continued to this day. While at Putney, inspired by other students who were already playing and singing folk songs, John learned to play the guitar. When he arrived at Harvard College, in Cambridge, Massachusetts, the folk boom was just beginning. Bohemians had become beatniks. Joan Baez was performing twice a week at a Cambridge coffeehouse called the Club 47 Mount Auburn, for twenty dollars a night. Before long, folk music supplanted jazz at the Club 47 and other coffeehouses across the nation.

While still a student at Harvard, John became a member of the Harvard-born old-time and bluegrass band, the Charles River Valley Boys. As a musician and photographer, he was inside the musical counterculture from the start. After college, John played music full time and took photographs from Cambridge to California and Paris to Tangier. When folk music was replaced in the counterculture's affections by rock and roll, a fortuitous chain of opportunities brought John to San Francisco to road manage Big Brother and the Holding Company. When Janis Joplin left Big Brother a year later, she asked John to stay with her. John worked with Janis until her death in October 1970. When the exhilarating high of the '60s dissipated in the early '70s, John put aside his guitar and his camera for a time.

He turned to writing screenplays and novels, but before his first novel was published John was contacted by Robert Shelton and Bob Spitz - two writers working on biographies of Bob Dylan. They asked John for photographs. That was just the beginning. After years of filling requests to license his images of '60s musicians, John decided that the time was right to make the images available to the public. In August 1998, the first exhibition of John's photographs since 1965 took place at the ArtWest Gallery in Jackson, Wyoming.

Since 1982, John has lived in Jackson Hole, Wyoming, where he writes, plays music, skis, and studies acting. He is taking photographs once more, concentrating on the performing arts. When the opportunity arises, he'll go just about anywhere to perform with the Charles River Valley Boys and other friends from the sixties In November 1985 John Cooke invited Bob Dylan to join the Stagecoach Band, the country/bluegrass bar band from the Stagecoach Bar in Wislon, to play at a wedding. (Clinton Heylin:"Bob Dylan: Behind The Shades, a Biography")

Bob Dylan " first visited Jackson Hole in November 1985 to attend a wedding at Turpin Meadow Ranch, according to Bill Briggs, a member of the Stagecoach Band, the entertainment at the wedding. Briggs said Dylan arrived wearing ''city shoes'' in snowy weather. ''In general, he wasn't having a good time at the party,'' Briggs said. ''So John Cooke invited him to sit in with us.'' Briggs recalled that Dylan agreed but said he did not want to sing any songs. So the Stagecoach Band lent him an extra mandolin. ''For the last two sets he just played backup mandolin,'' Briggs said. ''He was really good.'' Casper Star Tribune, Wyoming, 7 June 2003

http://www.cookephoto.com/index.html

Photographer on Dylan's 1966 world tour and on the 1974 USA Tour with The Band. Also, took some earlier backstage and onstage shots of Dylan, Joan Baez with Richard and Mimi Farina at a concert in early 1964.

Covered the Concert for Bangladesh 1971 & produced the artwork for official Apple release.

Photographs featured on Bob Dylan, Live 1966

Barry Feinstein's photographs are a unique and extraordinary record of many of the most significant personalities of our time. Starting in the late 1950's in Hollywood, Feinstein has photographed such cinema legends as Steve McQueen, Marlene Diertrich, Marlon Brando, John Huston, Marilyn Monroe, Clark Gable, Dennis Hopper, Jayne Mansfield, Montgomery Clift and many more. Feinstein's photographs of musical artists are among the most memorable of the genre. His images of Donovan, George Harrison, Janis Joplin, Miles Davis, Ringo Starr, Barbara Streisand, Dexter Gordon, King Curtis and Bob Dylan are classics. Co-director with D.A.Pennebaker and others on the film 'Monterey Pop' and The Complete Monterey Pop Festival ' DVD release.

Feinstein's photographs have been published in numerous magazines including Life, Time, Look, GQ, Esquire, Newsweek, and Mojo. His work appears on the covers of many books, album jackets and CD's. (he was one of the leading album cover photographers of the Sixties)

Designer & art director with the innovative Blue Thumb record label - http://www.vervemusicgroup.com/history.aspx?lid=4

His photographs of the Kennedy inauguration, The Academy Awards, Richard Nixon's presidential campaign, the March on Washington and the Selma Alabama Peace March with Martin Luther King are important documents of the twentieth century. Feinstein is also an accomplished designer, film director, cameraman and art director. (.http://www.govindagallery.com/pages/exhibitions/achieve/feinstein.html)

"Real Moments: Bob Dylan" by Barry Feinstein - review by Sean O'Hagan

Bob Dylan's 1966 European tour is already the stuff of legend: the electricity, the thunderous volume, the trail of shellshocked audiences dismayed to the point of anger by their hero's disavowal of his folk roots. For a long time, the Dylan of that time -aloof, imperious, stoned - was only available in glimpses, on bootleg recordings of the tour and in DA Pennebaker's fly-on-the-wall documentary, Eat the Document, which, 40 years on, has yet to be granted an official release. In Martin Scorsese's recent retrospective, No Direction Home, we finally saw, as well as heard, the moment when a lone voice in the Manchester Free Trade Hall yelled 'Judas' at the stick-thin figure in the spotlight.

In the light of all this dramatic verité evidence, Barry Feinstein's black-and-white photographs may initially seem understated in their evocative power, but the more you look at them, the more you begin to see another side of the Bob Dylan of 1966. Here he is, for instance, posing with three elderly Scottish hotel chambermaids, a dandy in stripes and shades among the Victorian aprons and pinafores. That same maid's uniform is somehow rendered chic and even sexy in another Feinstein fly-on-the-wall portrait, which looks as if it was taken in Paris but was actually Leicester. Here, the maid is young and imperturbably cool, her sculpted bob a perfect counterpoint to Dylan's unruly curls. An electric bass guitar lies in the foreground beside a tiny harmonica, signifiers of where Dylan was at and where he had come from.

There are wonderful snapshots here of Dylan being fitted for a new suit in Carnaby Street, blowing out the candles on a baroque birthday cake in Paris and chatting with two very cool-looking Irish female fans, one of whom is a dead ringer for the young Patti Smith. 'They were poets,' elaborates Feinstein, 'and he was quite taken with their poems.' I bet he was.

Whatever Dylan is doing, on or offstage, the sunglasses seldom come off. When they do, they reveal a haunted man, strung out to the point of gaunt. Feinstein's several shadowy portrait of Dylan, safe behind his shades in the back of his limo, immune to the stares of imploring fans or the intrusive lenses of the press, are studies in solitariness, impenetrability. The book also includes a series of images from Dylan's 1974 tour of America. Here, he looks healthy, happy, human once more. Blood on the Tracks, though, was just around the corner. No direction home, indeed.

Early Dylan , Photographs and Introduction by Barry Feinstein, Daniel Kramer and Jim Marshall Bulfinch Press; (1999) "Early Dylan features many unpublished 1960s-era photographs of Bob Dylan- the poet laureate of his generation-from three master photographers, with behind-the-scenes anecdotal captions. "

Bob Dylan World Tours 1966-1974 - Through the Camera of Barry Feinstein - 2005 DVD release which although featuring a lot of unseen Feinstein footage has been getting rather mixed reviews largely because of the on-screen antics of producer / Dylan impersonator Joel Gillbert. See review at http://www.filmmonthly.com/Video/Articles/BobDylanWorldTour/BobDylanWorldTour.html

Real Moments: Bob Dylan by Barry Feinstein - Feinstein Omnibus Press pp60 (2008)

You Are What You Eat (Commonwealth-United) - Basically an irreverent 'underground' documentary, built around a prospective album soundtrack, about the various mid-Sixties cultures and starring the talents of Paul Butterfield, Barry McGuire, Rosko, Tiny Tim and Peter Yarrow.

Monterey Pop and The Complete Monterey Pop Festival DVD release.

Website - http://www.barryfeinsteinphotography.com/

Early shots of Dylan are from Carnegie Hall 1962. Various work for Music journals in 1960's including 'Sing Out' and other folk publications. Photographer for early Newport Festivals.

Re Dylan's electric debut at Newport 1965 - " I knew what was coming, because in the afternoon I was the only photographer allowed in to shoot Dylan with Butterfield's band......."

More recently Gahr was responsible for the majority of photos for "Love & Theft", along with Kevin Mazur & Ken Regan. (Photography by: Kevin Mazur (Front Cover & Group) David Gahr (Back Cover & Booklet Back Cover)

David Gahr has been photographing the music scene since 1959. His work has appeared in major publications including Time, Life, People, and Rolling Stone magazines and he has produced numerous books. His work captures the dedication and character of the artists he has photographed, including, B.B King, Mississippi John Hurt, Big Momma Thornton, and Muddy Waters

" Dave Gahr was the first photographer to approach taking pictures of folk musicians as a serious professional task. His dedication, and his captivating images, inspired many others to do the same, but few, if any, surpassed the master " John Byrne Cooke

Some of his Record Cover artwork - Early folk and jazz albums on Elektra & Vanguard - Richard & Mimi Farina, Laura Nyro, & others / Mainstream - Big Brother & the Holding Company 1967 / Atlantic 1969 (Yes and others) / Rounder Records 1978 & Kirshner Records 1975 / Verve 1982 / Sony / Columbia (18 Tracks -Bruce Springsteen 1999 / "Love & Theft", Bob Dylan 2001)

Publications -

The Face of Folk Music - Robert Shelton and David Gahr: - New York: Citadel Press, 1968. 372 pages. This huge, 10-pound book is comprised of an essay by Shelton on the nature and evolution of folk music in the U.S. from the early ethnomusicologists to the folk-pop of 1967, accompanied by over 500 photos by David Gahr. The photos are really the main attraction here. Gahr was the pre-eminent photographer of the folk music scene of the sixties, and was influential in his use of natural lighting. Included are many photos of obscure folk figures that you'd be hard-pressed to find elsewhere, as well as many unfamiliar photos of the bigger stars. The text itself, without the pictures, would probably only take up about 20 or 30 pages, and makes an excellent short introduction to folk music. Unfortunately, this book is out of print and rather expensive.

"Dave used to come by my house in Greenwich Village whenever I had an 'old blues guy' over. He took some great 'shots' of Hacksaw Harney, Houston Stackhouse and Pink Anderson at my place. You might look for his out of print book, 'The Faces of Folk Music' which covered the 60's and 70's folk revival. Great pictures of Dylan, Baez, Muddy, Gary Davis, John Hurt and so many more." Roy Book Binder

The Festival Songbook -Paul Nelson, & Tony Glover,Amsco Music Publishing Co. 1973 -This is an excellent copy of this very scarce combination songbook and photo essay by noted photographer David Gahr. The first 98 pages are mainly bw photographs printed on glossy stock.

Who I Am, 1974 , Julius Lester with David Gahr, photographer

The Seventies: A Tumultuous Decade Reconsidered - (Rolling Stone}

Great series of photos of Dylan and friends from summer 1964.

From "Forever young" by Steven Rosenberg, Globe Newspaper Company, January 23, 2005 -

"An Amesbury psychotherapist reaches into his past -- and finds galleries (and Martin Scorsese) interested in his 40-year-old photos of an icon" - In Douglas Gilbert's Amesbury darkroom, the black-and-white silhouettes slowly emerge, revealing images of a person and a time that changed the face of rock 'n' roll history. The person is Bob Dylan, the time is the summer of 1964, and the photos were hidden from the public for four decades.That will change next month, when the photographer -- now a psychotherapist -- holds his first public showing of the prints at the Perfect Exposure Gallery in Los Angeles. The show, entitled ''Bob Dylan: Unscripted," travels to Boston this fall.

The 42 exhibit photos are a fraction of the 900 pictures Gilbert took of Dylan over a seven-day period during the summer of 1964 in Woodstock, N.Y., Manhattan, and at the Newport Folk Festival. Most of the photos were taken at Dylan's retreat in Woodstock, which was owned by his manager, Albert Goldman. The photos show a 23-year-old Dylan at ease with his music, and his friends -- who included poet Allen Ginsberg, writer Terry Southern, and musicians John Sebastian and Ramblin' Jack Elliott. The photo shoot was Gilbert's first assignment as a 21-year-old staff photographer for Look magazine.

He remembers driving while Dylan played the harmonica and Sebastian sang ''Mr. Tambourine Man"; Ginsberg holding a large tree limb over his shoulder and laughing hysterically; Dylan placing an empty picture frame around his neck at the Kettle of Fish bar in New York, and saying, ''Take one now, the picture's already framed." But Look never published the photos. ''The editor just thought that he was not fit for a family magazine, and Look prided itself on being a family magazine," said Gilbert, a psychotherapist who continues to work as a professional photographer. ''He said he thought the photos looked too scruffy." A year later, Look ran a major story on Dylan but did not use Gilbert's photos. When the magazine folded in 1971, Gilbert was given the negatives from the shoot. He kept them under wraps during his moves to Chicago, Newburyport, and Amesbury. Unsure of who owned the rights to the pictures, Gilbert was content to let them go unpublished. He never bothered to print and frame a Dylan photo for himself. He went on to win photography awards for other work and published a book on writer C.S. Lewis.

''There were long periods when I forgot about them," Gilbert said. But two years ago, another former Look photographer, Douglas Kirkland, told Gilbert that he did, in fact, own the rights to the photos. A year later, when PBS began work on a Dylan documentary, Gilbert's daughter asked the producers if they might be interested in the photos.Then came the call from Dylan's office in New York. They wanted to see the entire collection. Gilbert printed 31 contact sheets, and sent them to New York. Soon afterward, Gilbert learned that several had been chosen to run in a booklet included in the recently released CD, ''The Bootleg Series Volume 6: Bob Dylan Live in 1964."

''I think they're remarkable. They were all amazing. We were just floored," said Geoff Gans, Dylan's art director. Gans was a week away from finishing up the artwork for the CD when he saw the photos. He quickly pulled 11 photographs that had been scheduled to run and replaced them with Gilbert's pictures.Gans called the photographs ''technically beautiful," and lauded Gilbert's perspective and depth of field. He said Dylan is a fan of the photos.''One of the things Bob really liked is you can see the furniture, which to him really dates the time. He also liked the photos of him sitting around with a bunch of people because they weren't just focused on him," Gans said.\par Chelsea Hoffman, an associate producer for the PBS documentary on Dylan that is being directed by Martin Scorsese, said she expects several of Gilbert's photos to run in the film.''They're very candid, very innocent, and not posed," she said.

Gilbert's instincts told him to focus on Dylan's interactions, but not become a participant in the conversation. The one time he asked Dylan to pose for a photo, the musician declined.''I was trying to set up an interaction with him and someone else, and I said, 'Could you do this because I would like to make the situation look real?"' Gilbert said. ''And he stopped and he looked me right in the eye, and said, 'Nothing's real, man.' So I didn't do anything more after that. And the point was really clear. It was more than the words.''I knew that just my presence changed a few things, and I tried to be as inconspicuous and quiet as I could be. I believe he appreciated that. He never asked me to stop photographing. He would let me wander around where he was and we got along fine."

The photos, of Dylan sitting with friends, playing music, writing, and standing in New York City, tell the story of a young poet and musician enjoying life. Gilbert, who is now 62, has not identified a theme from the collection, but believes it reveals a vulnerable side of Dylan that's rarely seen in photos after 1964. ''I knew that it was a pretty rare experience, even at that point," Gilbert said. The pictures were taken before Dylan produced much of his seminal work, such as ''Like A Rolling Stone," ''Just Like a Woman," and ''Lay, Lady, Lay." ''It wasn't long after that when he began to be much less accessible," Gilbert said, ''and I really felt as if I was able to spend some time with him when he was not as guarded, not as private, and it's part of what makes the photographs unique."

Gilbert, who chose a 35-millimeter Leica range finder camera for most of the shoot, used available light and did not use a tripod. His photos rarely seem rushed and reflect a relaxed, sometimes pensive Dylan.One picture shows him drinking red wine and watching late-night TV alone. Many were taken in a Woodstock cafe, where Dylan wrote on a manual typewriter in a second-floor office.The writing, said Gilbert, was part of Dylan's routine, lasting about 15 minutes at a time. Once, when Dylan left, Gilbert read the words on the typewriter paper. Months later, in 1964, when he purchased the album ''Another Side of Bob Dylan," Gilbert recognized some of the poetry on the liner notes and realized that it had been written during the photo shoot. Gilbert has read Dylan's recent book, ''Chronicles: Volume 1," and still listens to the musician, who, he says, has influenced his life.''He worked on my thinking," Gilbert said. ''His work was really helpful to me in clarifying a lot of what I was sensing, and feeling, but didn't have words yet to put it all together. When I would hear his work it would kind of come into focus." Gilbert's photographs of Bob Dylan are on view at his website": Steven Rosenberg - Copyright 2005 Globe Newspaper Company.

"Bob Dylan: Unscripted" by Douglas R. Gilbert - Tango Latin; 1st Edition edition (2005) ISBN: 0966357221 40 page, 5.5" x 8.5" soft cover. The book depicts 42 rare photographs of Bob Dylan shot in 1964 by Mr. Gilbert as a staff photographer for LOOK Magazine. The photographs capture moments between Dylan and his friends, both known and unknown, allowing the viewer access to a more private, previously shielded side of Dylan. The "Bob Dylan: Unscripted" exhibit was curated and exhibited at The Perfect Exposure Gallery in Los Angeles in 2005 for the first time.

Douglas Gilbert's website - http://www.douglasrgilbert.com/dylan_project.html

Early 1976 - series of atmospheric portraits of Dylan from recording session with Bette Midler.

1983 - shots at Lone Star Cafe gig with Rick Danko & Levon Helm, and others taken in the street in New York City.

BBC photographer who took series of portraits in 1965 during his TV recording. Large number of others from this session also survive by Val Wilmer and Tony Gale.

Photos of Dylan and others at Newport 1964 and 1965 and a series from Providence Rhode Island concert, October 1965.

Born USA 1947, has taught photography at Harvard University

Agency 2005 - http://www.groupM35.com

Articles & photos for Granta magazine - http://www.granta.com/authors/435

Afghanistan Diary: 1992-2000 - Grazda has made repeated visits to Afghanistan over the years. He documented the dramatic changes that decades of warfare have wrought in Afghanistan in his book http://www.eurasianet.org/departments/culture/articles/eav071602.shtml

Afghanistan: 1980-1989 (Der Alltag/Parkett)

The Dome and the Grid - Written by Jerrilynn D. Dodds / Photographed by Ed Grazda - New York and Islam tradition.

Past and Present Views of New York 2001 http://www.nyhistory.org/walk/

His photos of Dylan include Newport Festival 1965 and on the 1974 & 1978 USA tours. Also the Friends of Chile Benefit 1974 and 30th Anniversary Concertt 1992

Gruen has traveled with Elton John, Tina Turner, Led Zeppelin, and many others. His photos of John Lennon were recently published in a limited edition collectors book

"A Conversation with Photographer Bob Gruen" - Crawdaddy 18 December >

http://crawdaddy.wolfgangsvault.com/Article/A-Conversation-with-Famous-Rock-Photographer-Bob-Gruen.html

Excerpt -

Crawdaddy : Did Newport '65 leave an impression on you, in that you caught a wild, historical moment with your camera and that you could conceivably do that again and again ?

Gruen : At the time, no one knew it was a historical moment so I didn't have the thought then. I didn't have a place to sell the photo and I wasn't working for anybody.

Crawdaddy : Though shortly after people were buzzing about the moment, and you'd captured it.

Gruen : I didn't feel special about it. There were a couple of photographers who were actually already working—Jim Marshall and Dave Gahr were there. I didn't have any outlet. I didn't know anyone at any magazine. Certainly there was no internet or any other kind of thing. If you weren't in a magazine you weren't in the media… there was a buzz about it, but the buzz was among an extremely small minority of the few people interested in folk music, know what I mean ?

Publications -

John Lennon - William Morrow & Company

Listen to These Pictures: Photographs of John Lennon - with Stanley Mieses - William Morrow 1985

Sometime In New York City - limited edition - Photography by Bob Gruen. Words by John Lennon, Yoko Ono and Bob Gruen. -Genesis Publications Ltd. - Detailed personal portrait of John Lennon and Yoko Ono, featuring mostly full colour and previously unpublished photographs. The book spans Bob Gruen's friendship with John and Yoko from 1971 through to John's death in 1980. He has remained friends with Yoko and frequently works with her. "Bob Gruen had a nice vibe. Most photographers got so tense and serious when they came to take John's photo. I think they were just nervous but they were so tense that it usually made us nervous too. But with Bob, it was a breeze... not too casual, but nice and relaxed. So we felt comfortable with him taking our pictures. Of course, we liked his photos, too. We looked real in them. Bob was cool and hip and he still is." Yoko Ono

The Clash - :A Photographic Documentary of the Only Band That Mattered 1977-1982 - Vision On 2001 / 2005\

Sex Pistols - Book Sales Limited 1991 - A unique compilation of Sex Pistols photographs, most of which haven't been seen before in the U.S.

Keith: Standing in the Shadows - " Stanley Booth & Bob Gruen- St. Martin's Press 1996 -A literary look at Keith Richards, guitarist for the Rolling Stones, through conversations, history, and music. Booth explores Richard's past, his assessment of his craft, his attitudes toward other Stones band members, his passion for music, and his influences.

Blank Generation Revisited: The Early Days of Punk Rock - Music Sales Corporation 2000 - Six preeminent photographers reveal the shots that launched their careers and in the process they reveal the acts that launched modern rock. From the B-52s and the Talking Heads to Richard Hell and the Ramones, the influence of the legendary bands that shaped the punk rock movement continues to be heard in music as diverse as folk, rap, alternative, and heavy metal.

Website - http://bobgruen.com

Staff photographer for Melody Maker, UK.

Took photos of the London Airport press conference 1965. His website contains many other interesting shots from the 60's and later, including Allen Ginsberg at the Albert Hall in London 1965 (see under "Poets")

Website - http://www.hoppy.be/principal.htm

Columbia/CBS photographer in the 1960s. His photo-sessions with Dylan from 1961 to 1963 document the rapid development of Dylan's image over these early years. He was responsible for the cover photography on Dylan s first three albums, the second of which, The Freewheelin' Bob Dylan , is one of the most iconic of all cover images, showing Dylan with his girlfriend Suze Rotolo, walking arm in arm down a snowy New York City Street in February 1963. Others were taken at this time in Dylan's apartment, some of which feature on the booklet for the SACD release of Freewheelin'.

He took others in November 1963 at the New York Carnegie Hall concert and many session photos during the recording of the early albums - some also during the Bringing it All Back Home & Highway 61 Revisited sessions in 1965.

His work also features on covers for the Bootleg Series, Vols. 1-3 :/ Rare & Unreleased.

Continues to have a varied and successful freelance career.

Website - http://www.donhunstein.com

Now deceased New York-based fashion and music photographer who photographed a wired looking Dylan in a rooftop shoot in 1966 - these were taken for an article in McCalls Magazine.

Art Kane was a huge Bob Dylan fan, and literally stalked a very un-cooperative Dylan around an L.A. rooftop to get the shot. Dylan didn't like being told what to do, and Kane didn't shoot reportage style. Dylan, literally cornered, submitted to the direction and gave up the shot with a smouldering look that says, alright, you win. As Kane later recalled " I told him, "I'm going to stay until I get what I want." I finally manoeuvred him into a corner, he slid down and looked up. I had my shot !"

Responsible for some famous shots of Dylan with Allen Ginsberg and Michael McClure in San Francisco late 1965 - Jim Marshall was also around on this occasion to capture the moment for posterity !

Could be considered the 'official' photographer between the fall of 1964 and August 1965 - was responsible for the album cover photography on 'Bringing it All Back Home' and 'Highway 61 Revisited'. Took a lengthy series of live shots during Dylan's US tour in late 1964.and others on 1965 Spring tour. He was the official stills photographer on the 1965 Don't Look Back tour and film project.

From an interview with Kramer - " 'Bringing it All Back Home' was my first album cover and I wanted it to be special both for me and for Bob. I wanted to show him as someone unique and special, someone at the center of things with a world turning wildly about him. To accomplish the effect for the cover I built a special rig that enabled me to turn the camera during the exposure while keeping Bob Dylan sharp, still and centered. The cover shot was done live on one sheet of film 30 years before Photoshop. The picture was also nominated for a Grammy for photography."

From "Bob Dylan - a Portrait of the Artist's Early Years" by Kramer - " The day I met Bob Dylan (August 1964) started with a 2 hour drive to Woodstock, New York. Just beyond the town, set off from the public road by an unmarked driveway, and concealed from view by an expanse of grounds covered with trees and heavy foliage, is the home of Albert Grossman. A sign posted on a tree along the driveway reads: "If you have not telephoned, you are trespassing."

Here Dylan spent a good deal of his time when he was not on the road or in the city. More than a hideout, it was a peaceful retreat. The house was large and comfortable, the grounds well-kept. There was a pool behind the house, and two smaller buildings were used as a garage and guest house. Everything was bright and still on this warm August morning. It was a perfect place to separate from the world. Dylan was not at home when I arrived, and I passed the time waiting for him at the pool. The quiet of the morning was broken by the roar of a motorcycle in the driveway. It disappeared into the garage, and moments later a thin, gangly young man dressed in bluejeans, boots, and a rumpled work shirt walked toward me. Ringlets of hair protruded from under his motorcycle rider's cap. His pale complexion and slight frame made him appear younger than the twenty-three years I knew him to be. As we greeted each other, we shook hands, and I was surprised at how gentle his handshake was. The feeling Dylan projected on the TV screen was one of strength. The mild handshake seemed to be out of character for this man, yet it made me think of the handshake of Floyd Patterson whom I met at the time of his reign as world heavyweight boxing champion. His handshake was also meek and mild, but I knew him to be a strong and powerful man. In both cases it was perplexing. After we exchanged some words of greeting, I explained what I came to do - that I wanted to photograph him, to document him. Dylan said he had expected me.

Although he was polite and friendly, he didn't seem to have much enthusiasm for making the pictures. As we spoke, he shuffled his feet and bobbed his head up and down somewhat impatiently, as though preoccupied. He told me he would be about the house and I should feel free to photograph him. People are usually eager to place themselves at the disposal of the photographer in order to make the pictures as effective as possible. They want to know how they can be helpful, asking where the photographer would like to work or what they should wear.They are willing to construct artificail situations.Dylan did not do this. Instead he said he had some things to do and excused himself.

What I wanted to do was to arrange and pose him in situations that would be revealing or symbolic. When I followed him into the house, I found him sitting at a dining booth in the kitchen reading a newspaper. He turned the pages of the newspaper and seemed never to acknowledge my presence. This set the pace. Apparently he was not going to do anything especially for the camera. It was not that he wasn't cooperating. Actually, he was being cooperative in his way-he allowed me to be with him, he allowed me to photograph him and to select my own pictures, as long as they derived from the situation I found him in.At one point, after I had worked for a while and made a number of pictures, I suggested we go out to the front porch, where the light was very good. I asked him to sit in a rocking chair, which he did, but after a few moments he stood up, tell\-ing me this was not the way he would like to be photographed. I was aware, even on first acquaintance, that Dylan is a restless man. It is difficult to pin him down, difficult for him to remain still. It was also obvious that he didn't like to be photographed.

He said that photography was a waste of his time and that he didn't want to pose. I stopped shooting and, there on the porch, explained what it was I wanted to do. I told him again what I felt the first time I saw him on the television screen a year before. I wanted him to cooperate so I could document who he was and what he was doing, and, I hoped, the pictures would eventually find their way to the public. He let me know he understood this and that he was willing to cooperate, but that he wanted the pictures to come from the things he did and not from things we would arrange for him to do. So I suggested photographing him doing the things which seemed most natural for him-working, writing music, or playing the guitar.

Dylan sat himself in a swing on the porch and told me that the pictures I wanted wouldn't work out, since he is always alone when he writes, and that it would be silly to make a picture of him posing at the typewriter. As for the guitar, he almost never played except when performing and he didn't like pictures with the instrument. Instead, he suggested I photograph him on the swing. His mood changed when he stood up and he pumped the swing higher and higher. He smiled - a rare thing, I learned, for Dylan to do for the camera. I felt I was being challenged and decided to meet it by not forcing the situation."

Preview of Kramer exhibition - Memphis 2005
The exhibit is made up of photographs taken from a collection of 60 pictures New York-based photographer and film director Daniel Kramer took in the mid 60s during Dylan's transition from a folk poet into a rock star. Each picture includes actions ranging from Dylan playing chess and ironing folk queen Joan Baez's hair to him playing the harmonica with a cigarette placed alongside the instrument in its holder.
The rest of the photos were published in Kramer's 1967 book "Bob Dylan" later re-printed in 2001 as "Bob Dylan: A Portrait of the Artist's Early Years."

However, the 60 photographs, in addition to 52 other rare and unpublished ones, meant more than just being eye pleasers, since it was at a time when Bob Dylan was becoming Bob Dylan, Kramer said.
"He wasn't yet the major star he is today," Kramer said.
Kramer said his exploits to get the young artist to do a photo shoot included months of phone calls and letters, with his first portrait sitting finally arriving in August of 1964.
"He was inaccessible," Kramer said. "People do that with young people."
Kramer said his motivation and interest in photographing Dylan stemmed from a 1964 television performance of Dylan's song, "The Lonesome Death of Hattie Carroll."
"I didn't know who he was or his music until I heard his lyrics," Kramer said. "I was caught by this young man's abilities and I had to photograph him."
Kramer said shortly after he took the first pictures, there were not too many magazines, but he got in touch with Pageant, a major national picture magazine.
"When I showed them to the editor, he said 'I don't need more pictures of a young kid with a guitar,'" Kramer said.

A week later the same editor called back and demanded pictures of Dylan, Kramer said.
"I was a young photographer," Kramer said. "I had to persevere." After the pictures were released, Kramer and Dylan's professional relationship and friendship began, Kramer said.
"Bob Dylan liked the pictures," Kramer said. "His response was 'I'm going to Philadelphia, do you want to go?'" Kramer said.

Dylan changed music, its style and performance that year, Kramer said. The year was 1965.
"I found this young man the year he was making it happen," Kramer said. "This just doesn't happen, because you have to make it happen."
Kramer said photographs, articles or any piece of art can have a very important influence on how society sees people.
"I brought something out to it that brought him slightly into a different life," Kramer said. "I photographed him with that kind of reverence."

Kramer said the photographer is not responsible for who the person is and in developing their talent, but he/she can help bring the person to the public.
"There were photographers for Marylyn Monroe, James Dean or Elvis Presley," Kramer said. "I'm sure there are several pictures of these people that make you remember them by that picture."

Kramer's sessions with Dylan will last for more than a year and were published in his book, which Kramer will be signing this evening from 4:30 to 7 p.m. The sessions included recording, traveling, concert and playtime.
"I enjoy photographing people who do things," Kramer said. Whether photographs or Dylan's musical talent were the reason why fans enjoyed the artist, professors and students on campus still consider him to be one of the best.

"He's not just surface," said Michael Porter, an adjunct instructor in the department of communication and songwriter.
Porter said Dylan gave out a message and told people to serve something in their lives.
"He's not just a songwriter, but also a performer," Porter said.

Jamie Strusz, a sophomore foreign language major, said Dylan is simply one of the best song musicians and writers ever.
"You don't really need a reason to like him, you just have to appreciate good music," Strusz said. "I really can't think of anything else to say aside from, it's Bob Dylan, because that's reason enough."
Strusz said she has been listening to Dylan since she was a child and his music appealed to everyone regardless of the age.
"The young kids loved him for the music he wrote because it was all the things they wanted to say and the older people loved him for the music he wrote because it was all the things they had wanted to say too," Strusz said. "He makes everyone feel understood."

Early Dylan, Photographs and Introduction by Barry Feinstein, Daniel Kramer and Jim Marshall - Bulfinch Press; (1999) "Early Dylan features many unpublished 1960s-era photographs of Bob Dylan- the poet laureate of his generation-from three master photographers, with behind-the-scenes anecdotal captions. "

"Bob Dylan" (1967) later re-printed in 2001 as "Bob Dylan: A Portrait of the Artist's Early Years."

Noted photographer who was living in Woodstock in late 1960's. Responsible for the Nashville Skyline cover photography and candid personal sessions at Dylan's Woodstock home. Also took live photos at various Dylan concerts in 1970s. Did some equally famous artwork for The Band's second album.

Landy's work has featured in many publications and exhibitions. Born in 1942, he began photographing the anti-Vietnam war movement and the underground music culture in New York City in 1967. He photographed many of the underground rock and roll superstars, both backstage and onstage, from 1967 to 69.1969. Official photographer at the 1969 Woodstock Festival.

After that, Elliott moved on to other inspirations and art forms, photographing his own children and travels, creating impressionist flower photographs and doing motion and kaleidoscopic photography in both still and film formats.His photographs have been published worldwide for many years in all print mediums including covers of Rolling Stone, Life, the Saturday Evening Post, etc. and calendars, photographic book collections, album covers, etc.

He has published Woodstock Vision, The Spirit of A Generation, in book and CD-ROM format, and authored the book Woodstock 69, The First Festival. He is currently publishing a series of limited edition lithographs of his classic rock photographs, and producing a feature film based on the life of Janis Joplin.

Website - http://www.landyvision.com/ ("Interactive music visuals & photography")

Photos of Dylan taken at the Castle, Los Angeles, 1965 during Dylan's stay there.

Lisa Law has been a photographer for over fifty years. She met her future husband, Tom Law, backstage at a Peter, Paul and Mary concert - he was their road manager and was employed by Albert Grossman.

In 1965, they moved into the Castle, a Los Feliz mansion that became a hostel to the hip and happening, among them Dylan, Nico, Reed, Barry McGuire and Andy Warhol. Her career as photographer began in the early sixties. Camera in hand, and working, assistant to a manager in the rock and roll scene, she began taking pictures, Whether she was back stage with The Beatles, Peter Paul and Mary the Kingston Trio, Otis Redding, The Lovin' Spoonful, The Velvet Underground, The Byrds, taking promotional photographs of Janis Joplin and Big Brother, or at home making dinner for house guests like Bob Dylan or Andy Warhol, her passion for photography grew into a profession.

At Woodstock she helped feed 160,000 people along with Wavy Gravy and the Hog Farm and shot a super 8 movie at the same time which has been used in many documentaries on the event. In the deserts of Arizona she helped the Navajo weavers resist relocation by the BIA and Peabody Cole and in El Salvador she was a driver for Pastors for Peace delivering aid to the refugees living in make shift houses at the city dump. She took a train from the magical village of Cusco to Machu Picchu to document the ancient hand hewn stone temples in Peru. She is thrilled to share some of her artistic photographs of many varied subjects. Her most recent works include the hand carved sand caves of New Mexico, and the movement to end the war on drugs in the US.

Lisa lives in New Mexico in a house she helped design and build, overlooking the Sangre de Cristos and the Rio Grande. Lisa's work has been published in over 50 books and on 22 record albums, CDs and tapes. Her editorial credits include Time, Newsweek, The Los Angeles Times, The Chicago Tribune, Rolling Stone, High Times, Vogue, Esquire, and National Geographic.

Album Covers include Tim Hardin CD Box Set, "The Velvet Underground and Nico", Allen Ginsberg CD Box Set, Janis Joplin CD Box Set Booklet, Taj Mahal CD Box Set , Otis Redding 1966 "Rhythm and Blues", "Peter Rowan "Red Hot Pickers" and "All on a Rising Day", Peter Rowan "Texican Badman", & "Medicne Trail", Gary P. Nunn "Nobody but Me", "Home with the Armadillo: Live at Austin City Limits", Ruben Romero "Suite Dreams", Jaime Michaels "Wicked Dreams Second Chances", Consuelo Luz "Yo Se Que Yo Amo", "Dezeo",

Flashing on the Sixties by Lisa Law (Square Books) - pictorial record of the Sixties

Interviews with Icons by Lisa Law (Lumen Press 2000)

Film - 'Flashing on the Sixties: a Tribal Document' - Actor-director Dennis Hopper described Flashing On The Sixties as "the most compelling, moving documentary of the Sixties" .- it won 4 major awards at film festivals upon it's release.

website - http://www.flashingonthesixties.com/intro.html

photos at the Castle - http://americanhistory.si.edu/lisalaw/3.htm & http://www.flashingonthesixties.com/dylan.html

Session with Dylan for Rolling Stone 1978 - others on 1978 tour & pre-tour publicity shots - some photos were used on Street Legal publicity 1978. Also did a later photo session with Dylan in 1986 again for Rolling Stone.

As Rolling Stone's chief photographer for over thirteen years, Leibovitz created a legendary body of work. Her portraits of some of the world's most talented musicians capture more than the performer, they convey the art of making music. For "American Music", Leibovitz travelled across the country to juke joints in the Mississippi Delta, honkytonks in Texas, and jazz clubs in New Orleans to take pictures in places that mean something. In her signature style, she shares stunning portraits of American greats -- B.B. King , Willie Nelson, Bonnie Raitt , Bruce Springsteen, Beck , Bob Dylan , Mary J. Blige , Jon Bon Jovi , Steve Earle , Ryan Adams , Miles Davis , Etta James, Pete Seeger , Emmylou Harris , Tom Waits, The Dixie Chicks , Dr. Dre, The Roots and many more.

Born in Westport, Connecticut in 1947. While a student, she went to a kibbutz and an architectural dig at King Solomon's temple in Israel in 1969, and in 1970 had her first photographs published by the magazine Rolling Stone After graduating from San Francisco Art Institute with her BFA in 1971 she became the magazine's principal photographer in 1973staying with them for the next 10 years.

Her main influences, especially from her time at college, were photographers such as Henri Cartier-Bresson and Robert Frank In 1975 she photographed the Rolling Stones on tour, becoming the official photographer and more for their world tour. Another of Liebowitz's employers was Andy Warhol who used her photography in his 'Interview' magazine John Lennon's death in 1980 provided a tragic boost for Leibovitz. Only shortly before, she had made her now famous picture of a naked Lennon hugging his wife Yoko Ono - It was the last picture before the murder.

In 1983, Leibovitz became the first contributing photographer to 'Vanity Fair', producing many fine portraits for the magazine over the years. 1983 also saw her first one-person show and her first book, 'Annie Leibovitz: Photographs.' The following year she was named 'Photographer of the Year' by the American Society of Magazine Photographers Leibovitz became one of only two living photographers to have an exhibition of her work at the Smithsonian National Portrait Gallery in Washington, DC, in 1991, with 'Annie Leibovitz, Photographs 1970-1990'. In 1995 she was official photographer for the Atlanta Olympics.

American Music - Photographs - Random House 2003

Stardust - 2001

Photographs--Annie Leibovitz, 1970-1990 - HarperCollins 2001

Prolific photographer of Dylan and others on the sixties music scene and highly influential both in his individual style and by his sheer energy in pursuing a wide-ranging freelance career. Among his earliest of Dylan are from the Town Hall concert 1962 - many of his shots from the 60s are among the most famous from Dylan's New York years. Was also an official photographer for the Newport Folk Festival during the sixties and naturally Dylan is one of his most covered subjects at the 1963-65 events..

From 'About Photography'" - "Annie Liebowitz said 'Jim Marshall is THE rock and roll photographer' and one can only say 'Amen' to that. Of course he also took some great pictures of jazz musicians and others, as well as creating a legend by his attitude and behaviour. As it says on his site, his friends see him as 'grossly unpredictable, fabulously silly, unbelievably opinionated, completely charming, and thoroughly maddening' while others - particularly those who have tried to cheat him - view him as a dangerous lunatic. Marshall worked before artists and groups were managed out of existence. He demanded and got 'All Access' to do his work and if he wasn't able to do everything with the band he walked out. Nobody could work as he did now, and no one does. For him it was a matter of trust - if people didn't trust him he didn't want to work with them.

Marshall's work has been published in virtually every magazine in the world, for Life, Look and Newsweek to all the music papers, notably Rolling Stone, as well as in features in photography publications. The list of those he has photographed is a Who's Who of the last 40 years of popular music." http://photography.about.com/library

Proof - collection of his photos (2004)

Not Fade Away -: The Rock & Roll Photography of Jim Marshall - by Jim Marshall & David Fahey (Little Brown and Company (1997) Review > This is the guy who took that classic picture of Janis Joplin sprawled on a sofa backstage, Southern Comfort in hand; Keith Richards looking like a deadman playing guitar while smoking, and a very young Joan Baez giving an equally young Dylan a back rub, both looking equally cranked up.

Early Dylan - Photographs and Introduction by Barry Feinstein, Daniel Kramer and Jim Marshall Bulfinch Press; (1999) "Early Dylan features many unpublished 1960s-era photographs of Bob Dylan- the poet laureate of his generation-from three master photographers, with behind-the-scenes anecdotal captions. "

Website - http://www.jimmarshallvault.com/

Kevin Mazur

Photos for "Love & Theft" (2001)

Kevin Mazur's renowned celebrity portraits have appeared in leading magazines, books, album covers and ad campaigns. He is a former staff photographer for Rolling Stone.

2 recent quotes on the Dylan photo-session -

"One of my favorite jobs was when I got a call to shoot Bob Dylan in the recording studio. I was bringing home my new baby and I was in the hospital and my phone rang and wife says, "Who wants you to work tonight?" And my mother-in-law right away was like "You're crazy if you think youre going to work tonight, you are bringing the baby home". I said "Well, they want me to film Bob Dylan in a recording studio", and my wife's like "Oh, well, you gotta go". So, low and behold, I go to the studio and it was a great experience, I got to see Bob record and stuff and I get a call like a month later from Donny Iner, the President of Columbia Records saying "Hey, Congratulations, Bob's album cover looks great" — I say "What are you talking about?" He goes "You don't know?" I go "What?" He goes "Bob liked your picture and he bumped the portrait session and used the photo from the recording session of yours". So I am like, "Wow, I got a Bob Dylan Album Cover".

"I photographed Bob many times ; I did his “Love and Theft” album cover. We went to a recording studio and had a very intimate shooting session. We spent a whole day driving around from place to place and snapping pictures. Just two cars : his and mine. That was unforgettable."

Website - http://www.kevinmazurphotography.com/

Photographer on New York's Village Voice Magazine, who first shot Dylan in early sixties, and continued to do so through to 1974. See the March on Washington photos 1963 with Joan Baez & some famous shots of Dylan sitting outside the Village Voice offices in January 1965.

See also shots taken backstage at the Woody Guthrie Memorial Concert in 1968 with Ramblin' Jack Elliott and Mike Bloomfield.

Photo session for CBS in 1964 - some photos used on "Live 1964" Philharmonic Hall release, 2004.

Re. some early shots of Barbra Streisand in 1960 - "Photographer Hank Parker shoots her as she stands in the lights on the tiny stage, dressed in her usual plain-Jane duds, stuff she has picked up at thrift shops. For a week, she sings the same songs again and again as the tapes roll. The live set doesn't get released. Instead, Columbia puts her in the studio and records "The Barbra Streisand Album." It hits the shelves in February 1963, one of the Bon Soir photos on the cover, and now she's a huge star. A few months later, she's playing the White House"

Director of the classic cinema verite study of Dylan on his 1965 English tour, Don't Look Back, he was also utilized to shoot the footage required for a scheduled one-hour documentary on Dylan's 1966 European tour, later shown as Eat the Document.

Born 1925 Evanston. Illinois - D.A Pennebaker has been behind a camera for nearly 50 years. One of America's leading documentarians, he has focussed his lens on subjects as diverse as Norman Mailer, Bob Dylan, David Bowie and Bill Clinton. With no idea what he was going to do when he graduated from college, Pennebaker spent time in the Navy, worked as an engineer and founded Electronics Engineering, the makers of the first computerised airline reservation system, before embarking on a film career.

The archivist of hundreds of jazz records, he decided to make a film based on a Duke Ellington piece in his collection. Daybreak Express showed laughing girls running through the New York underground, and was "a collection of 20th century craziness". On loan to a local cinema for $25 a week, it ran for a year. Groundbreaking early films for Pennebaker included Primary (1960) and Jane (1962), looking behind the scenes at the lives of American icons John Kennedy and Jane Fonda. And in 1967, his film Don't Look Back followed Bob Dylan on his concert tour of England. It was the first ever rock documentary and cemented the director's reputation as the foremost chronicler of 1960s youth culture.

Interview re Don't Look Back in 2003 (BBC) - http://www.bbc.co.uk/bbcfour/features/rock-docs/ask_pennebaker.shtml

Q - Dylan objected to Don't Look Back at time of release. Any idea what he thinks about it now?

DA Pennebaker > He seemed to change his mind about once a week. The last time I talked to him he thinks it's a fantastic film it just makes him a little uncomfortable because it's about him! It's a unique kind of thing. I don't think it could happen with any other person or at any other time.

Q - I've admired your films since I was a teenager - first queued up to see Don't Look Back at a late night showing in Aberdeen in Scotland probably in the late 60s. As a long-term Dylan fan the obvious question I have is about Eat the Document. Do you know of any plans for a DVD or cinema release of this film?

DA Pennebaker - Eat the Document is peculiar anomaly. After we made Don't Look Back, Dylan said to me, "I want you to help me make a film that I'm going to direct and you're going to be the cameraman." We went out to do this thing the next year. It was fascinating. The whole thing was so different [to Don't Look Back]. I only know how to make one kind of film so it was going to be an extension of Don't Look Back. Well he didn't want that. He wanted another film that he directed that wasn't Don't Look Back. He didn't know how to direct and I didn't know how to direct so it was ridiculous. We were like band that doesn't have a tune to play. In the end I wasn't supposed to edit it but ABC who put up the money for it kept coming to me and saying, "Where's this film? We agreed to do this because we thought you'd be doing it." I had to say that it's Dylan's film but I'll do whatever I could to help. He eventually said that he'd do it and we set up a couple of editing machines and he and Robbie [Robertson] and Howard Alk all fiddled around and worked on it for long time and eventually they made a film. The fact that they made a film is interesting. I think they lost a lot of what was in the performances by cutting different days together and other things I wouldn't normally do. \line\line I don't know what Dylan's feelings about it are. For a long time he didn't want to look at it all. Then they got him to show it at the Museum of Television and Radio here in New York. It was interesting in some ways. Having shot most of it I felt guilty about some of the stuff that wasn't very well shot. My feelings about it are a little conflicted. Somewhere in there is an incredible film. Whether it will see the light of day is uncertain. It's up to Bob. They don't even distribute it now.

Film CV - http://www.imdb.com/name/nm0672060/

French photographer of some famous shots from the Paris Olympia concert in 1966.

Official photographer on the 1975-76 Rolling Thunder Revue tours.

Others from 1965 such as at Forest Hills, during the acoustic portion of the August 1965 concert - this was Dylan's first full length solo acoustic / electric group show.

1975 photo used for Greatest Hits Vol 3 cover. Promotional shots taken in 1983. Other work was used more recently for "Love & Theft" artwork, 2001, some taken during summer USA tour. See Archive page for 2001 at Telluride, August.

Ken Regan was born and grew up in the Bronx, New York. He studied journalism at Columbia and attended New York University's Film School. His photography career began in the sports arena where he covered the World Series, Super Bowls, the Olympics, heavyweight championship fights, Hockey, Basketball, Tennis, Auto Racing and other professional sports for Time, Sports Illustrated, Life, and Newsweek. Among the athletes that Ken spent time photographing are names like Muhammad Ali, Mike Tyson, Hank Aaron and Wilt Chamberlain, Joe Namath and Mario Andretti.

In the 1970's, Ken Regan founded the photography agency, Camera 5. The agency originally represented 15 photo-journalists who covered news worldwide. Over the years to follow, Ken's body of work would become so immense, that the agency would take a turn to represent solely Ken Regan and his stock photo archive. Independently, Ken Regan has acquired an overwhelming collection of near 3 million images. As Ken's passion for his work becomes greater with each day, the Camera 5 archive becomes larger and more diverse. Camera 5's archive contains a variety of images ranging anywhere from Sports Travel, to News, to Rock N Roll, Film and all other facets of the Entertainment Industry.

Rolling Thunder Logbook by Sam Shepherd, republished 2004 with new photographs by Regan.(Foreword by T-Bone Burnett) Da Capo Press (November 30, 2004)

Website - http://www.kenregan.com/#/home

An in-house photographer at Bill Graham's Fillmore East in New York, and who also covered the Isle of Wight Festival in 1969 and some dates on the 1974 tour.

Photographer with Rolling Stone

Gallery - http://www.faheykleingallery.com/featured_artists/ritts/ritts_frames.htm

"Herb Ritts", Foundation Cartier and Thames & Hudson, 1999

"Work" Little Brown and Company/Bulfinch Press, Boston, 1996

"Kazu", Parco co ltd., Japan, 1995

"Africa", Little Brown and Company/Bulfinch Press, Boston 1994

"Notorious", Little Brown and Company/Bulfinch Press, Boston 1992

"Duo", Twin Palms Press, Santa Fe, 1992

"Men/Women", Twin Palms Publishers, Santa Fe, 1989

"Pictures", Twin Palms Publishers, Altadena, CA, 1988

Took a series of shots at New York gigs in 1962 such as Gerdes Folk City and others at Dylan's apartment, and in 1963 at Dylan's famous Tom Paine award reception. Took another interesting series in 1964, again at Dylan's apartment.

From his website - "Ted Russell, a former photographer for LIFE, was born in London. The son of an American foreign correspondent and his French war bride, Russell began photographing at age 10, and by age 15, was apprenticing in news photography in London's Fleet Street. The following year he worked as a stringer photographer for Acme Newspictures in Brussels. He later joined the staff of NOW, an English language picture magazine, published by former Stars & Stripes staffers in Frankfurt Germany, for Americans in Europe.

When NOW folded he shot covers for the U.S. Army's SPOTLIGHT magazine in Nurnberg, then freelanced briefly in Paris before boarding the Queen Mary for New York arriving with four cameras and $200. He was soon drafted and served as unit photographer with the Army's 2nd Engineers in the Korean war. After attending the University of California at Berkeley, he returned to New York and was a regular contributing photographer for LIFE magazine for over l2 years, shooting hundreds of assignments for LIFE magazine and Time Life books. After LIFE weekly suspended publication, he did many advertising, corporate and annual report assignments before turning his hand to photo editing, ending up as cover photo editor of NEWSWEEK magazine for 11 years.

His covers have appeared on LIFE, NEWSWEEK, SATURDAY REVIEW, UNCUT magazine, and numerous books and record albums."

Website - http://www.tedrussellphotographer.com/ (includes gallery of his early Dylan photos and others such as Peggy Lee, Norman Mailer, Richard Nixon, Bobby Darin, Art Blakey)

Jerry Schatzberg (Jerrold Schatzberg) (b.1927)

Legendary photographer and filmmaker who took the cover photography for "Blonde on Blonde " and the first Greatest Hits album. Some others were used on various editions of "Tarantula". Others shots during Highway 61 sessions. He photographed for magazines such as Vogue, Esquire and McCalls and began directing films in 1970. One musical subject was "Honeysuckle Rose" (also known as On the Road Again) (1980) starring Willie Nelson.

Note - Claudia Cardinale photo - This is the one picture by Jerry Schatzberg not from the Blonde On Blonde photo shoot. Bob chose this from Jerry's portfolio. It was removed from 1968 onwards from US printings of the Blonde On Blonde sleeve for legal reasons, but was included in a now out-of-print French book of Jerry's photos by Michel Ciment called "Schatzberg de la Photo au Cinema".

SEE http://www.searchingforagem.com/1960s/blonde.htm

Schatzberg also took the famous 'fish-eye' photo used for Rolling Stones "High Tide" LP.

"Thin Wild Mercury : Touching Dylan's Edge" (Genesis Publications Ltd 2004). Includes the iconic cover portrait of "Blonde on Blonde", Dylan recording "Highway GI Revisited", Live on Stage, and more.

website - http://www.jerryschatzberg.com/

His back pages - Article from the Boston Globe, 3 February 2008 by Geoff Edgers -

"With his hand-held Leica, he shot Mississippi John Hurt strumming a guitar on a rickety bed, Robert F. Kennedy strategizing with campaign advisers, and Bob Dylan at the 1963 Newport Folk Festival. "I was so close, I could have said, 'Bob, could you hold this camera?' " Scherman jokes. "Nowadays, they would take you and throw you out.". Nobody threw Scherman out. For roughly a decade, the photographer had an uncanny knack for making sure he was in the right place at the right time, whether shooting for Life magazine, National Geographic, or Time. And just as quickly as he arrived, he disappeared, drifting across the ocean and out of that glossy world for good.

"In 1967 (sic - in fact it was 1965), he took what would become his most famous photo. He and his wife, Joan, went to see Dylan play at the Washington Coliseum. Scherman took a Nikon with two rolls of film and, during the show, decided to head backstage. The security guards tried to keep him away, but he shouted at them. "I'm from Life," he said, and brushed past them, close to Dylan. He got the shot quickly - the singer's thick, afro-like hair silhouetted in a halo of blue light. Columbia's art director loved the picture, and it ended up on the cover of "Bob Dylan's Greatest Hits." Scherman earned $300 and a Grammy}"

From Wikipedia - The cover photograph of Bob Dylan's Greatest Hits was taken by Rowland Scherman at Dylan's 28 November 1965 concert in Washington, D.C. The cover won the 1967 Grammy award for "Best Album Cover, Photography"

Took an interesting series of portraits in 1995 in New York, some of which feature on 'Time Out of Mind' artwork although the cover shot itself was taken by producer Daniel Lanois ! Other shots from Los Angeles, 1998.

Began freelancing for Rolling Stone in 1987 and became their chief photographer in 1993

Physiognomy - The Mark Seliger Photographs by Eric Bogosian & Mark Seliger - Bulfinch; 1st ed edition (October 1, 1999) - from review :by Amra Brooks - " Mark Seliger's book is filled with a riveting cast of characters culled from the celebrity subjects he shoots as the chief photographer for both \i Rolling Stone and US magazines. A particularly stirring image is a 1987 Rolling Stone shot of Perry Farrell watering a sunflower garden. It is a powerful photograph, made all the more so by the fact that it is the image that essentially launched Seliger's career as one of today's leading music photographers. In the book's introduction, Eric Bogosian discusses the public's infatuation with celebrity, and how it is the photographer's job to capture that fleeting moment, that millisecond that encompasses the subject's spirit. And the artists that Seliger has caught in these moments are wildly diverse. His portraits of musicians range from seldom-photographed country stars like Loretta Lynn and Kitty Wells to Marilyn Manson, Tom Petty, Curtis Mayfield, and Courtney Love. His portraits of Drew Barrymore are among the best of her to date: the playfulness of Barrymore's personality shines through his depictions of her as Alice in Wonderland, a sumo wrestler, a boxer, and the only female boy scout at the mercy of her troop. Seliger displays a keen sense of color, and these photos jump off the page shouting for attention. His black-and-white portraits seem to try for a greater intimacy, and even though they still convey Seliger's sense of play, they are less theatrical than his flamboyant color work. There are, though, beautiful black-and-white portraits here of Sean Penn, Kurt Cobain, Joni Mitchell, and John Lee Hooker, to name a few.

Seliger writes: "One of the challenges and benefits of working for Rolling Stone and is having the opportunity to capture artists just as they're breaking through." This collection includes some very early photos of celebrities readers have come to know well over the years--and it is a fascinating to see how much of their personality he's captured on film".

When They Came to Take My Father - 1997 - his photo documentary of Holocaust survivors

Featured prominently in "Cobain. Rolling Stone Images of Rock 'n Roll" & "Crazy Sexy Cool" (Rolling Stone)

CBS/Sony photographer in 1960's - credited on booklet with SACD 'Freewheelin' release.

CBS photographer responsible for "Another Side of Bob Dylan" photos in summer 1964. Also credited for photos in "Freewheelin'" SACD booklet.

Shown in a photo of Hunstein's in 1965 at recording of Highway 61 album, so he may be responsible for some shots at those sessions.

Series of promotional photos in 1993, one of which used for "World Gone Wrong" CD back cover.

Portraits of Dylan from 1964 & photos taken at the Forrest Hills concert in 1965.

Editor of 16 magazine, which was very much a young teen girls' pop magazine when she joined, to which she adventurously added features and photos on people such as Dylan and was even to include an obituary in the magazine for Lenny Bruce.

from http://weeklywire.com/ww/06-14-99/austin_music_feature1.html (By Margaret Moser}- " In 1957, a young fashion model named Gloria Stavers was offered the position of subscription clerk for a teen idol magazine called "16". Suffering from a variety of health problems and anxious to bolt from a nowhere marriage, she swallowed her pride and took the job. In the time-honored tradition of the young and ambitious, Stavers then parlayed the grunt-level position upward; and by the end of 1958 she was editor-in-chief of a monthly publication with 250,000 readers. More importantly, what she did with 16 forever altered the female psyche in America. If Stavers wasn't the first female rock & roll journalist, she was certainly the first woman to wield power as such in the music press. Sing it with me, children: G-L-O-R-I-A.....

. The North Carolina-born Stavers was ill educated for the job of editor/journalist, but she took to it with the chutzpa of a professional. Her radar was acute, sharpened by rubbing elbows with the rich, famous and beautiful during her modeling days, and then honed on lovestruck teenage girls who were pouring their hearts out to their idols through letters to 16. Her savvy was self-taught when it came to helping to create stars, guiding and advising careers. In the world of Gloria Stavers, 16 promised pubescent intimacy and delivered it without fear of moral compromise.

.....Without being conscious of it, Stavers was a pioneer in rock journalism's infancy. By the mid to late Sixties, writers like Ellen Willis, Karin Berg, and Patricia Kennealy were making names for themselves with their bylines even though it was still a man's world they all worked in. One measure of Stavers' begrudged success was the disgraceful portrayal of her in the hideously flawed 1980 theatrical release The Idolmaker. The film boasted a killer soundtrack but was betrayed by a lousy script, the thinly disguised Stavers character played as a ruthless pop-press prima donna. It should have portrayed her as a woman completely in love with her job and the world she created for adolescent girls. Gloria Stavers didn't live to see her work acknowledged the way it deserved to be. By the end of the Seventies, she was probably beginning to be affected by the cancer that finally killed her in 1983. She didn't see the Eighties wave of teen idols like Debbie Gibson and New Kids on the Block, this version of teen dreams molded by MTV, but she would have known instinctively how to present them. She would have known how to keep the mystique of N' Sync and Britney Spears and the Backstreet Boys sparkling until they did what all teen idols eventually do -- grow up into adults.

In Who's Your Fave Rave?, the loving but unflinching book about life at 16, former editors Danny Fields and Randi Reisfeld reveal high regard for Gloria Stavers. Dave Marsh gushes in his introduction about her intelligence, her looks, her savvy. But I don't remember her getting that kind of acknowledgment in her lifetime. I remember 16 being sneered at by the music press at large for its unabashed worship of all things young and pretty, for its unconditional embrace and acknowledgment that teenage love is real. It was the anti-standard for rock criticism, but its' acceptance of an impressionable readership who simply loved and wanted to be loved made its enthusiastic approach guileless. That understanding existed because of one woman (By Margaret Moser}

Dave Marsh : When you tell people that Gloria Stavers and 16 magazine basically invented rock and pop culture journalism as we know it today, they think you're just talking about the fact that Gloria was close to Jim Morrison of the Doors, or that she ran the early story that kept 'Rolling Stone' afloat, or that she was the first person to take good photographs of teen stars, or that you're being charitable because Gloria had the courage to run an obituary in 16 for her great friend Lenny Bruce. Nope. Gloria was the first real pop journalist, no qualification necessary.(from Who's Your Fave Rave?)

Lisa Robinson - "Gloria was really glamorous, had been a model who became very spiritual and Buddhist. Stavers had affairs with Lenny Bruce and Jim Morrison, Paul Revere, or whatever his real name was...".http://www.rockcritics.com/features/paulgorman.html

Paul Till was born in 1953 in London, England and emigrated to Toronto, Canada in 1957.

"Blood on the Tracks". "He was famous long ago for having an image from the first rock concert he ever photographed (Bob Dylan in Toronto in 1974) ending up as the cover of Dylan's "Blood on the Tracks". Back in those predigital days he was an expert in gonzo photomanipulation. "I blew up a small piece of the black and white negative onto another piece of negative film, which normally would give you a positive, but I solarized it and partially reversed it so I ended up with another negative (sort of). I printed that and hand coloured it." (If you understand that, that's good. If you don't understand it that's good too.) "I got Dylan's address from "Who's Who" and mailed him a print."

Till later pulled off about the same trick with an image made at the Niagara Falls New York stop of the Rolling Thunder review which was used on the cover and slipcase of the songbook,"Bob Dylan, Songs 1966 through 1975". Although he tried the same thing a couple of more times none of it bore fruit. Since then he's photographed a cryptic Leonard Cohen, a grumpy Chuck Norris, a Jerry Lewis enraged about Watergate, the charming Lena Lovich, as well as many other people and bands. .

Website - http://www.paultillphoto.com/index.html

1993 photography for "World Gone Wrong" in London UK - one used for front cover of album.

1965 BBC TV sessions during the Don't Look Back tour.

Barrie Wentzell Photography - http://HYPERLINK "http://www.barriewentzell.com/"www.barriewentzell.com

Dylan - An Illustrated History by Michael Gross (1978 Today Press)

Early Dylan, Photographs and Introduction by Barry Feinstein, Daniel Kramer and Jim Marshall - Bulfinch Press; (1999)

Bob Dylan: An Illustrated Discography, Stuart Hoggard and Jim Shields

Bob Dylan: The Illustrated Record, Alan Rinzler

The Films Of Bob Dylan, C.P. Lee

Bob Dylan. Knocking On Dylan's Door, Rolling Stone editors

VIDEO releases : Hard To Handle (Virgin Vision 1987), Don't Look Back (Virgin Vision 1988), 30th Anniversary Concert Celebration (Sony Music Video 1993), MTV Unplugged (Sony Music Video 1995), World Tour 1966: The Home Movies (Wienerworld 2004).

FILM releases: Don't Look Back (1966), Eat The Document (1971), Pat Garrett & Billy The Kid (1973), Renaldo And Clara (1978), Hearts Of Fire (1987), Masked And Anonymous (2003).