DJ Shadow (Josh Davis) secured a paramount moment and time in music history back in the fall of 1996 with one LP - an album that has yet to lose its relevance and impact 20 years later.

Endtroducing... is the debut studio album from one of hip-hop's most profound producers, who reinvented the art form of sampling by composing an entire project through erratic sonic clips found at various vinyl record shops in his Cali-based hometown. It's a process captured visually on the album's cover, through a now iconic photograph snapped by Irish, California-based photographer B+ (otherwise known as Brian Cross.) The vinyl, the blurry face, the cat, the '90s aesthetic, it's all there. And like the project it envelops, its timelessness stands as classic.

To celebrate his landmark work, Endtroducing... is now being reintroduced two decades later with a new endtrospective edition from DJ Shadow, which features demos, alternative takes, live versions and exclusive remixes from Hudson Mohawke, Clams Casino and Salva, which is set for release on October 28. And to better understand the art behind the music and where it stands today, we spoke to B+ about capturing the essence of something so iconic. The story goes something like this:

The Story

"I was interested in photography in Ireland but there was no fine arts degree in photography in Ireland at that time. L.A was the most likely place for me to be. I did paint but mainly I did photography so my degree says painting but I was already doing photography. I wasn't photographing musicians or anything, I was more interested in the world of ideas. Whereas painting, to me, was still very much a craft. So when I came to California, it was to study photography properly.

"I was interested in music, obviously. I had even come to the States for the first time in 1988 on a J-1, which is a student visa. I spent most of my time in San Francisco and I spent most of my money buying records. So while I was at CalArts, during the first year, a professor there sort of suggested, "Why don't you do some work with hip-hop? You're always talking about it." And that was really the transformation that happened there. I started work on that and that became a book called It's Not About A Salary and that came out in 1993.

"But in the process of doing all of that, a guy by the name of Mike Nardone, who had a radio show down here at the time, introduced me to this young guy from the Bay Area, who was doing these tapes - these collage tapes, basically - and it was Shadow. So I heard about him fairly early. Through a magazine I was working for at the time, I met Jeff Chang of 'Who We Be' and 'We Gon Be Alright' and 'Can't Stop Won't Stop' and Jeff was working with SoleSides, which basically what became Quannum Projects. Blackalicious, Lyrics Born, Shadow.

"I remember when I was working on my book, I had a question. I had a sample and they were like, "Just call Shadow." And I remember calling him and they came to LA not long after that. They needed photos so I did some photos. When it came time to do the record, he called me. With Josh (Shadow), he is very straightforward. It was his idea to go to the store. It was his idea to not be on the cover. It was his idea to put the rest of the crew digging. Everything except the actual framing of the image itself.

"Basically, Josh had it where the rows of records were sort of facing you and you're looking across the rows of records. And we shot it that way for the first few hours. Then we went downstairs into the basement and shot there for another hour or two and did some digging. And when we came back up, I remember looking down the rows of records, using them for timelines for perspective. And I was like, "You know, we never shot this way, we should try this out." Then the cat showed up.

"I shot like one roll maybe. And I was using this camera - this Fuji 617 camera and the focusing was manual. You literally had to use a measuring tape. What happened between me and the assistant, we got mixed up and she was measuring it in metres and I was setting it in feet, or vice versa. And what was meant to be in focus wasn't. It was a deep focus thing, where the back of the store was in focus and everything in the foreground was out of focus. And to be honest, when we processed the film and made the proof sheets, it was the only frame that was ever considered for the cover. It was like, "that's it." Clearly. With the mistake and everything.

"If me and Josh have something that we share, and believe in deeply, it's that we both believe in the power of mistakes. And that cover is a very clear illustration of that. It was something about the movement of what's going on with Tom, who's wearing a wig in the foreground. There's something about the movement in his face. There's something beautiful about the way the cat is just looking straight into the camera. The cat was blind.

"It was a transitional photograph for me. It gave me courage to let the light be what the light is. It was a real turning point for me in the sense that, we didn't light it. Whatever the light was that was in the room, was the light. And there's something kind of honest about it that inspired me to live up to that, after that. I started to invest more in photography rooted in exchange and performance than it is in sophisticated lighting.

"And that record is really a benchmark record. There's kind of a research aspect to what we do. The notion that somehow you could lay that bare and turn the whole thing back on itself and say, "Here you are in a record store buying records and my record is a photograph of my friends buying records." It's a self-conscious and wonderful way of turning the practices and the way he makes music, back on itself. When we shot this, back in '95, '96, back then, if I came across something on the record store floor and I saw something that was weird, or I didn't know what it was, I would say, "Hey Josh, do you know anything about this?" He would be like "Are you talking about the one with the purple label or the yellow label? You're looking for the one with the yellow label."

"It was crazy. He is just one of those cats that has an encyclopedic knowledge of music recorded on vinyl. There's not very many of them. And most of them know each other. It's kind of extraordinary, really. I was very lucky to have had the opportunity to work with Josh."