This photo of a pouting Dylan is from the session with Don Hunstein for the cover of his eponymous debut LP for Columbia records, released in March 1962. Dylan sports long witch-like nails, and in other photos from the session looks pensive, moody. In one image from the series, he even graces Hunstein with a youthful bashful smile
Photograph: PR Photograph: Don Hunstein/PR
Hunstein took the iconic photo for the 1963 LP The Freewheelin' Bob Dylan. Hunstein first met Dylan at his West 4th Street apartment in New York's Greenwich Village, and found him already well-adapted, image-conscious and self-assured. Hunstein was a staff photographer for Columbia records for nearly 30 years
Photograph: PR Photograph: Courtesy Sony Music/Don Hunstein/PR
Having decided to photograph Dylan for his personal portfolio, it took Daniel Kramer six months to get permission from Dylan’s manager Albert Grossman. Kramer told the Guardian that it was a labour of love as “in the beginning you couldn’t sell a Dylan picture … it was matter of a process to introduce editors to the idea.” Kramer accompanied Dylan on a roadtrip from New York to Philadelphia for a concert at Town Hall
Photograph: Daniel Kramer Photograph: Daniel Kramer
Dylan on the way to the now-notorious Philadephia concert. A bootleg of this concert has been available under the title The Chimes of Philadelphia: the set opened with The Times they are a Changing and ended with The Lonesome Death of Hattie Carroll and All I Really Want To Do. This was the first time Kramer saw Dylan live Photograph: Daniel Kramer
This photo is from a Sandy Speiser session that resulted in the cover image for Another Side of Bob Dylan. Speiser, like Don Hunstein, was a Columbia Records staff photographer
Photograph: PR Photograph: Courtesy Sony Music/ Sandy Speiser/PR
According to Daniel Kramer, the musicians in Columbia Records' Studio A were all coached by Dylan, who played their parts for them on the piano. The sessions yielded the Dylan classics Subterranean Homesick Blues, Maggie’s Farm and Love Minus Zero/No Limit. However, Mr Tambourine Man was an out-take from Dylan’s previous LP, Another Side of Bob Dylan Photograph: Daniel Kramer
A colourised version of this image was used on the cover of the 1985 Biograph box set, featuring Dylan songs from 1961-81. It was shot by Daniel Kramer in New York City in 1965 Photograph: /Daniel Kramer
Halliday was graduating from the French pop form Yé-yé the name derived from Yeah Yeah and was mostly associated with elbow-raising singers influenced by or singing American songs often in French translation. By 1966, Halliday was going serious and was inspired by James Brown and Dylan. In January 1966, he recorded Dylan’s If You Gotta Go, Go Now. This photo was taken on a night out in Paris. Faced with younger competition such as the singer Antoine, Halliday scored a pr coup by monopolising Dylan’s night out in Paris Photograph: PR
Dylan celebrated his 25th birthday at Hotel George V in Paris after his l’Olympia show. Having visited several tailors in Paris, he eventually bought two suits from the Renoma boutique. Johnny Halliday is on Dylan’s right. Barry Feinstein was the official photographer on Dylan’s 1966 European tour; Feinstein’s images were exhibited as a show called Bob Dylan’s 1966 European Tour at the National Portrait Gallery in 2009 Photograph: Barry Feinstein Photography
In 1964, Dylan dedicated a poem to singer and actress Françoise Hardy who he had never met. This photo was taken on 24 May 1966 at l’Olympia, Paris after Dylan refused to return to the stage unless she was brought to him. She recalled that he looked like a vampire with yellow skin and long yellow fingernails. Later, at his 25th birthday party, at the George V, he took Hardy to his suite and serenaded her with I Want You” and Just Like a Woman. She later stated that “the thought that he was giving me a message with his songs did not cross my mind.” They never met again Photograph: Barry Feinstein Photography
