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Related: Culture Forums, Support ForumsBlood on the Tracks
This album came up in a recent discussion I had with friends and online about this album cover. WOW, some people get vicerally upset with the cover. The COVER. Others think it is an artistic triumph.
I'm just doing art research for my new book and had a nice discussion about album covers here on DU. When I talked in person to friends and family members, I found some sharp divergence of love/hate.
The album cover seems tame enough to me. Yeah, it uses a little pointillism but ehhh, I'm not fussed about that. The pose? Yeah, OK, but just a profile...
What in god's name has folks so fussed?
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Blood on the Tracks (Original Post)
CTyankee
Apr 2020
OP
MLAA
(17,327 posts)1. I like it 🙂
CTyankee
(63,912 posts)2. Good! Happy to hear it.
Thanks. Nice and succinct. No lecture...
PubliusEnigma
(1,583 posts)3. We're idiots, babe. It's a-wonder that we still know how to breathe.
CTyankee
(63,912 posts)5. Yeah, that's a good line. Shows some self awareness...
TomVilmer
(1,832 posts)4. Blood on the Tracks, Blood in the Mine...
Wounded Bear
(58,706 posts)6. This thread is useless without pics...
Last edited Sat Apr 18, 2020, 05:52 PM - Edit history (1)
Sorry, I have no idea what that album cover looks like.
Generic Brad
(14,275 posts)7. Personally, I don't understand the controversy
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JimGinPA
(14,811 posts)8. I Always Thought That Was Harold Ramis On The Cover
Seriously, there are some great tracks on that album but I didn't think the cover was that memorable.
Donkees
(31,453 posts)9. In the words of the photographer - Paul Till
I was 20 years old at the time, and had been doing photography for about three years and had been using a darkroom for a year and a half or so. I loved the darkroom and learning and using various darkroom techniques. I was also a big Bob Dylan fan, and so when the 1974 tour was announced, there was a mail-in first-come first-served process for getting tickets to his show at the Maple Leaf Gardens. I took my letter down to actual post office where their post office box was and ended up with quite good tickets. I was directly stage right a few seats from being obstructed by loudspeakers. I was relatively close to the stage, but not really close. I photographed the 2nd of Bob Dylan's two concerts in - I think it was - January of 1974. I'd never photographed a concert before.
The camera I was using was a screw-mount Leica III which dated back to the 1930's. It was my dad's - he'd bought in London, England in 1945. I had a fast normal lens for it, but not a telephoto, so I borrowed a Canon 135 f3.5 lens from the father of a friend of my sister. Anyhow, I shot about a roll and half of 35mm Tri X - the standard 400 ASA film of the time - and tried to figure out the exposure. I pushed the film to about 1600ASA (ASA is the same as ISO. but that's what it was called then). I don't recall if I did the darkroom work to make the cover image in the Fall or Winter of 1974.
At the time, I was doing a lot of darkroom manipulation of photographs as well as hand-colouring them. I was very familiar with Bob Dylan's music and I felt that the combination of darkroom technique and hand colouring echoed the old/new dichotomy of much of his work, as well as the notion that it echoed the (sometimes slapdash) off-handed power of his words and music.
Here's how it was actually made - The negative was enlarged in the darkroom onto another piece of film in such a way that just Dylan's head was on it. This would normally result in a positive image on the film which, if you printed it onto a piece of photo paper, would give you a negative print. However, I solarized this piece of film (that is, re-exposed it to light) as it was being developed. This partially reversed the image and also gave it the distinctive line between what was dark to start with and what has made dark by the solarization. Technically, this technique is actually called the Sabbatier effect, and the lines are called Mackie lines. This resulted in a quite dark and low-contrast piece of film to make a print from. I had to use the very high-contrast grade 6 Agfa Brovira paper to get a print with enough contrast.
I made a bunch of these and hand-coloured them using Marshalls photographic watercolours (they are a dye that sinks right into the emulsion of the photographic paper). I do recall that I was selling 5X7 hand-coloured prints of the cover image and the entire image for $5.00 in the Fall. In the fall of 1974 I sent Bob Dylan some of the photos. I sent in at least two images- the one that ended up on the cover and a hand coloured version of the entire image.
The camera I was using was a screw-mount Leica III which dated back to the 1930's. It was my dad's - he'd bought in London, England in 1945. I had a fast normal lens for it, but not a telephoto, so I borrowed a Canon 135 f3.5 lens from the father of a friend of my sister. Anyhow, I shot about a roll and half of 35mm Tri X - the standard 400 ASA film of the time - and tried to figure out the exposure. I pushed the film to about 1600ASA (ASA is the same as ISO. but that's what it was called then). I don't recall if I did the darkroom work to make the cover image in the Fall or Winter of 1974.
At the time, I was doing a lot of darkroom manipulation of photographs as well as hand-colouring them. I was very familiar with Bob Dylan's music and I felt that the combination of darkroom technique and hand colouring echoed the old/new dichotomy of much of his work, as well as the notion that it echoed the (sometimes slapdash) off-handed power of his words and music.
Here's how it was actually made - The negative was enlarged in the darkroom onto another piece of film in such a way that just Dylan's head was on it. This would normally result in a positive image on the film which, if you printed it onto a piece of photo paper, would give you a negative print. However, I solarized this piece of film (that is, re-exposed it to light) as it was being developed. This partially reversed the image and also gave it the distinctive line between what was dark to start with and what has made dark by the solarization. Technically, this technique is actually called the Sabbatier effect, and the lines are called Mackie lines. This resulted in a quite dark and low-contrast piece of film to make a print from. I had to use the very high-contrast grade 6 Agfa Brovira paper to get a print with enough contrast.
I made a bunch of these and hand-coloured them using Marshalls photographic watercolours (they are a dye that sinks right into the emulsion of the photographic paper). I do recall that I was selling 5X7 hand-coloured prints of the cover image and the entire image for $5.00 in the Fall. In the fall of 1974 I sent Bob Dylan some of the photos. I sent in at least two images- the one that ended up on the cover and a hand coloured version of the entire image.
https://rockpopgallery.typepad.com/rockpop_gallery_news/2008/06/cover-story-interview---bob-dylans-blood-on-the-tracks-with-photography-by-paul-till.html
Iggo
(47,565 posts)10. Is there another cover than the one I'm used to?
CTyankee
(63,912 posts)11. No, I don't think so.