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Bellak was, according to Kane, one of just a handful of “professional-level” photographers to have captured the event. He appears to have overlooked the festival’s performers (which famously included Jimi Hendrix, Janis Joplin, Jefferson Airplane and The Who), and instead turned his lens on attendees.

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“You can almost sense that Bellak is tiptoeing around these sleeping encampments,” Kane said in a phone interview. “He must not have got any sleep at all. Just the silence in those photos really speaks to you.”

For Kane, who was born the year after Woodstock, publishing the photos was not simply a matter of posterity. He spent time reading Bellak’s writings, and even met with one of his ex-girlfriends, to help better understand a photographer he describes as “somewhat of a private man.”

“It was important for me, if I was to do something with this collection, to know who this man was,” Kane explained. “I’m an artist myself and I needed to figure out what his voice was as an artist.”

Kane’s new book, “Pilgrims of Woodstock,” pairs Bellak’s photos with more than 30 of his own interviews with festivalgoers. While he was unable to track down individuals featured in the images, his interview process was still shaped by the late photojournalist’s work – in particular, the diversity captured at the festival.

“Woodstock is known to be a college-aged, white audience, but there are Hispanics and black people in (Bellak’s) photos,” Kane said. “Because he was living in New York at the time, he really had that focus, which sparked the idea to carry out a diverse selection of interviews.”

Kane spoke to former military personnel, conservative voices and members of ethnic minority and LGBT communities for the book, in addition to attendees more typically associated with Woodstock.

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