On assignment for Esquire magazine in 1962, fashion photographer and filmmaker Jerry Schatzberg documented the ultra-exclusive world of French haute couture in stunning photographs of famous fashion icons. All the glamour and drama of the runway is presented, including images of Yves Saint Laurent’s first collection after leaving Dior, as well as tastemakers such as Diana Vreeland and American Vogue editor Jessica Daves mingling in the chic crowds. As an insider, Schatzberg was permitted entry into the private, behind-the-scenes world of the models and photographers, which he reveals in candid images of renowned photographers such as Helmut Newton, William Klein, Hiro, and Norman Parkinson perfecting their glamour shots.Schatzberg’s images embody an era in fashion history, and document the glamour, intrigue, and opulence of the Parisian runway shows. With an eye for subtle moments of elegance, drama, and humor, Schatzberg captures the essence of the period’s style and grace.

Paris 1962: Yves Saint Laurent and Christian Dior, The Early Collections

Arts & Photography

Schatzberg, Jerry

Morton, Julia

Graphic Design

Rizzoli

* 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 recognized 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 close to three years; 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 persistence, 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. Half 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 socializing together, Schatzberg 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 musician, and manages to perfectly capture the many facets of one of the most unique, complex and mysterious individuals of all time.

Dylan by Schatzberg

Individual Artists

Acc Art Books

<ul>
<li>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)</li>
<li>The photographer of the cover and liner images of Dylan's acclaimed 1966 album 'Blonde On Blonde'</li>
<li>Widely recognized as the foremost body of images of Bob Dylan, Nobel laureate, from a pinnacle point in his career</li>
<li>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</li>
<li>Includes reprints of seminal interviews, including "A Night with Bob Dylan" by Al Aronowitz, originally published in the New York Herald Tribune in 1965</li>
<li>Original text/interview with Jerry Schatzberg &amp; Jonathan Lethem</li>
<li>Dylan by Schatzberg was created in collaboration with Yolanda Cuomo, an elite designer whose work includes books on Andy Warhol, Richard Avedon, Twyla Tharp, Desmond Tutu, Mary Ellen Mark, Susan Meiselas, and Steve McCurry, among many others. She is a long-time collaborator with the estate of Diane Arbus producing a number of monographs devoted to the photographer's work, including the landmark exhibition catalog, Revelations </li>
</ul>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 close to three years; 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. Half 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 socializing together, Schatzberg 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 musician, and manages to perfectly capture the many facets of one of the most unique, complex and mysterious individuals of all time.

Photography & Video

PARIS 1962: YVES SAINT-LAURENT ET CHRISTIAN DIOR - LES PREMIERES COLLECTIONS (TEXTUEL PHOTOGRAPHIE)

Terrail

See the best price to sell, buy, or rent books by Schatzberg, Jerry. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Schatzberg, Jerry