Dylan by Schatzberg

Voor dit boek selecteerde de gerenom­meerde filmmaker en fotograaf Jerry Schatzberg foto's die hij maakte van Bob Dylan uit zijn rijke archief. Aan de hand van portretten, opnames tijdens liveconcerten en in de studio geeft hij een nooit eerder geziene inkijk in het leven van Dylan.
De verzameling van Schatzberg wordt algemeen gezien als de belang­rijkste beeldverzameling over Dylan. Schatzberg is de fotograaf die onder meer tekende voor Dylans portret op het geroemde album Blonde On Blonde uit 1966. Veel beelden die in dit boek zijn opgenomen, worden vandaag voor het eerst gepubliceerd. De foto's van Schatzberg zijn niet alleen tijdloos, ze zijn ook bepalend geweest voor een van de invloedrijkste muzikanten van de twintigste eeuw. Dylan by Schatzberg is een allesomvat­tende getuigenis in woord en beeld van de belangrijkste momenten uit het leven van een wereldster op het hoogte­punt van zijn carrière. Verzameld in één indrukwekkend boek op groot formaat. Met herdrukken van interviews, zoals A Night with Bob Dylan door Al Aronowitz, oorspronkelijk gepubliceerd in de New York Herald Tribune in 1965.

In 1965, photographer Jerry Schatzberg, already well-established in the field due to his fashion and portrait photography for various publications, such as Vogue, Esquire and Life, listened to Bob Dylan for the first time. He had been hearing about the singer for a while; two friends were especially dogged and would ask him every time they spoke if he had heard the music yet. Finally, feeling obligated to them for their persistency, he listened and understood immediately why Dylan was inspiring such passionate excitement. Shortly thereafter, Schatzberg was photographing a job in his studio and had some fortuitous company. Famed music journalist Al Aronowitz and disc jockey Scott Ross were discussing Dylan and a recent performance they had seen of his. Listening to their conversation, he volunteered that he'd like to photograph the singer if given the chance. Dylan's new wife (one of the friends mentioned above) called the following day and gave him an open invitation to the studio where he was currently recording 'Highway 61 Revisited'. Excited and curious, Schatzberg set off the very next day for the studio, exactly six days after the seminal Newport Folk Festival set where Dylan went electric and was collectively booed. Schatzberg received a warm welcome from the singer, who immediately sat him down to listen to what he had been recording that day. Dylan gave him free rein of the studio once he started shooting and the images that emerged from that day make obvious the comfortable and relaxed atmosphere that was already brewing between photographer and subject. Considering Dylan's almost-universal dislike of journalists (and by extension photographers), this was a completely unprecedented situation, one that Schatzberg took seriously.

Filmmaker and renowned photographer Jerry Schatzberg's essential iconic photographs of Bob Dylan, including studio portraits, on-stage performances, recording studio outtakes and more (many published for the first time)
The photographer of the cover and liner images of Dylan's acclaimed 1966 album 'Blonde On Blonde'
Widely recognised as the foremost body of images of Bob Dylan, Nobel laureate, from a pinnacle point in his career
Schatzberg's essential images not only stand the test of time, but also have become visually synonymous with one of the most important artists of the twentieth century. Dylan by Schatzberg is a comprehensive record of those moments, in photos and memories presented for the first time as a single subject monograph
Includes reprints of seminal interviews, including "A Night with Bob Dylan" by Al Aronowitz, originally published in the New York Herald Tribune in 1965
Original text/interview with Jerry Schatzberg & Jonathan Lethem

In 1965, photographer Jerry Schatzberg, already well-established in the field due to his fashion and portrait photography for various publications, such as Vogue, Esquire and Life, listened to Bob Dylan for the first time. He had been hearing about the singer for a while; two friends were especially dogged and would ask him every time they spoke if he had heard the music yet. Finally, feeling obligated to them for their persistency, he listened and understood immediately why Dylan was inspiring such passionate excitement. Shortly thereafter, Schatzberg was photographing a job in his studio and had some fortuitous company. Famed music journalist Al Aronowitz and disc jockey Scott Ross were discussing Dylan and a recent performance they had seen of his. Listening to their conversation, he volunteered that he'd like to photograph the singer if given the chance. Dylan's new wife (one of the friends mentioned above) called the following day and gave him an open invitation to the studio where he was currently recording 'Highway 61 Revisited'. Excited and curious, Schatzberg set off the very next day for the studio, exactly six days after the seminal Newport Folk Festival set where Dylan went electric and was collectively booed. Schatzberg received a warm welcome from the singer, who immediately sat him down to listen to what he had been recording that day. Dylan gave him free rein of the studio once he started shooting and the images that emerged from that day make obvious the comfortable and relaxed atmosphere that was already brewing between photographer and subject. Considering Dylan's almost-universal dislike of journalists (and by extension photographers), this was a completely unprecedented situation, one that Schatzberg took seriously.

That almost-instant trust and rapport quickly grew into a friendship and they are part of the reason Schatzberg's sittings with Dylan work so successfully and are so important. Dylan is relaxed, he's funny, he takes the props that the photographer gives him and has fun with them - he's obviously not taking himself too seriously. Working and socialising together, he would eventually do nine more photo shoots with Dylan from 1965-6, arguably the singer's most creative period, and capture the (now) Nobel laureate during one of the most pivotal moments in music history. Part of their uniqueness is their basic broad range of intimate and public locations: music and photography studios, live performances and street portraits. But more than that, each session (including the one for possibly his greatest album, 'Blonde on Blonde') says something different about Dylan, the man and the