Along the way she met Mr. Grossman, who was making his name managing folk music acts that played at those types of venues, including Peter, Paul and Mary, whom he helped bring together.
“The office was constantly packed with people,” Ms. Grossman recalled in the 1987 interview. “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 properties and which Mr. Dylan had also discovered about the same time, settling there with his family as well.
In due course came the photo shoot for the album cover.
“I made 10 exposures,” Mr. Kramer told The Minneapolis Star Tribune in 2014. One image, with Mr. Dylan holding a cat, was a keeper. “That was the only time all three subjects were looking at the lens,” Mr. Kramer said.
The photo, staged by Mr. Kramer with Mr. Dylan’s input, was an early example of what became a mini-trend of loading covers up with imagery that seemed to invite scrutiny for insights 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. Its tracks included “Mr. Tambourine Man,” “Subterranean Homesick Blues” and “Maggie’s Farm.”