When you look at pictures of simon and garfunkel, you aren't just looking at two guys from Queens with acoustic guitars. You're looking at the visual DNA of a very specific, moody New York. It’s the turtleneck-and-pea-coat aesthetic. It’s the tension between a short, brooding songwriter and a tall, angelic-looking tenor.
Honestly, the camera loved them because they looked like they were constantly in the middle of a secret. They didn't smile much. While the Beatles were grinning on Please Please Me, Simon and Garfunkel were standing in a cold subway station looking like they’d just witnessed the end of the world.
The Subway Shoot and the "Poem" That Followed
The cover of their 1964 debut, Wednesday Morning, 3 A.M., is one of the most recognizable pictures of simon and garfunkel. It was shot by Henry Parker at the Fifth Avenue and 53rd Street subway station in Manhattan.
Here’s the thing most people don't know: they had to throw out dozens of shots from that session. Why? Because the walls behind them were covered in graffiti. Specifically, the F-word was prominently featured in several frames.
Paul Simon later said that seeing those words on the "underground wall" actually gave him the seed for the song "A Poem on the Underground Wall." It’s kinda funny to think that a bit of New York grit—the kind that makes for great photography—ended up fueling the very poetry they were singing.
Why the Bookends Cover Feels Different
By 1968, the duo was at the height of their powers. The cover for Bookends is arguably the most famous photo ever taken of them. It was shot by Richard Avedon.
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Avedon was a legend for a reason. He stripped everything away. No subway, no park benches, no instruments. Just a high-contrast, black-and-white portrait of two faces.
- The Look: Artie has that wild halo of hair.
- The Mood: Paul is leaning in, looking almost suspicious of the lens.
- The Meaning: It captured the "urban alienation" that Britannica notes was their signature theme.
It wasn't a "pop star" photo. It was a serious, intellectual portrait. It told the world they weren't just a folk act anymore. They were artists.
The Bridge Over Troubled Water "Candid" Look
By the time they got to their final studio album, Bridge Over Troubled Water, the vibe had shifted again. The cover shows them walking down a New York street—or so it seems.
Actually, there’s a lot of debate among fans about where this was taken. Some believe it was a travelator at Los Angeles Airport (LAX) during the filming of their television special Songs of America. Others swear it’s a Manhattan sidewalk.
What makes it work is the physical distance. Paul is in the foreground, slightly out of focus or looking away, while Artie looms behind him. It visually represented the "troubled water" of their own relationship. They were together, but they weren't on the same plane anymore.
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Rare Glimpses: Before They Were Legends
Before they were the world-conquering duo, they were Tom & Jerry. Seriously.
If you find pictures of simon and garfunkel from 1957, you’ll see two 15-year-old kids in suits with slicked-back hair. They were trying to be the Everly Brothers. Paul went by Jerry Landis, and Art was Tom Graph.
There’s a great promotional shot from Sid Prosen’s Big Records where they look like every other teenager in Forest Hills. It’s jarring compared to the "Old Friends" look we’re used to. It reminds you that they didn't just appear out of thin air in the Greenwich Village folk scene; they were pop-obsessed kids first.
The 1981 Central Park Reunion
Fast forward to September 19, 1981. The pictures of simon and garfunkel from the Great Lawn are legendary because of the scale. 500,000 people.
The stage was designed to look like a New York rooftop, complete with a water tank. When you see the wide shots of that crowd, it’s hard to wrap your head around it. The photos of them shaking hands on stage that night felt like a temporary peace treaty for a city that desperately needed a win.
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Collecting and Authenticating
If you’re looking to buy original prints or press photos, you have to be careful. The market for 1960s music photography is huge.
- Check the stamp: Real press photos from the era usually have a purple or red ink stamp on the back (the "verso") from the news agency or photographer.
- Paper type: Most 1960s photos were printed on fiber-based paper, which feels different than the resin-coated (RC) paper that became common in the 70s and 80s.
- Photographer credits: Look for names like Michael Ochs, David Gahr, or Elliott Landy. These guys were in the room.
Preserving the Visual History
To really appreciate the visual story of this duo, you should look beyond the album covers. Some of the best pictures of simon and garfunkel are the candid shots taken in the studio with producer Roy Halee. You can see the intensity in Paul’s face as he works through a chord progression, or the way Artie closes his eyes to find the harmony.
It’s that combination of high-fashion portraiture and gritty New York street photography that keeps their image alive. They weren't just a sound; they were a look that defined an era of intellectual folk-rock.
To get the most out of your collection or research, try to source "first generation" prints from established archives like Getty or the Michael Ochs Archives. These hold the highest level of detail and provide the truest representation of the lighting and texture that made the 1960s such a fertile time for music photography.