Along the way, she met Mr. Grossman, who made a name for himself as a manager of folk music acts that played in such places, including Peter, Paul and Mary, which he brought together.
“The office was always full of people,” Ms. Grossman recalled in an interview in 1987. “Peter, Paul and Mary of course, but also Ian and Sylvia, Richie Havens, Gordon Lightfoot, other musicians, artists, poets.”
The couple, who married in 1964, settled in Woodstock, where Mr. Grossman had acquired land and which Mr. Dylan had discovered around the same time, and settled there with his family.
In due course, the photo shoot for the album cover came.
“I took 10 recordings,” Mr. Kramer told The Minneapolis Star Tribune in 2014. A picture of Mr. Dylan holding a cat was a keeper. “This was the only time that all three subjects looked at the lens,” said Kramer.
The photo, staged by Mr. Kramer with Mr. Dylan’s input, was an early example of a mini-trend in loading covers with images that invite insight into the music. The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band ”(1967) might be the best-known example.
The album itself was a breakthrough for Mr. Dylan, marking his transition from acoustic to electric. One of his tracks was “Mr. Tambourine Man ”,“ Subterranean Homesick Blues ”and“ Maggie’s Farm ”.