THIS KEY WONT UNLOCK THIS DOOR

So you can photograph as many 'models' as you like, In your own world anything goes.But when you enter the world of others get ready . Even the literature tells us to watch out. Helmut Newton looks on as the assembled editors go through his pictures, at the end there's stunned silence. These pictures are great but,but, the model has underarm hair so even though Helmut thinks this is beautiful his pictures wont be running.
Vreeland to Bailey” You’ve excelled yourself but we cant use these pictures, theres no languor(whatever that is) in their lips.
Frank Horvat says to his Bazaar editor, 'how about no make up? ah but at the time Revlon are buying so many ads all the faces need to be well made up. The democratic photographic principle bites back.
The late Terence Donovan used to call in at the Tottenham Court Road camera club and show some of his pictures. He would tell the audience don’t try to match these pictures youll never do it. For the week end or minor market shooter its true, but why.
Its not only the expertise of the team photographer, make up, hair, stylist etc it’s the unseen people, magazine editor, ad agency, designer,and a whole host of others that bring tension and frisson to the job. It has to work, it has to be good, money,jobs, reputation depend on it.
This often is what makes good better. For most of us this isn’t the case, at best it prints for all who were there and thatll do, and if its good enough for the way the personal vision goes that’s the key to success and feeling good about yourself.
Heres some drummers from the Steely Dan sessions Bernard Purdie, Rick Marotta and Jeff Porcaro and bassist Anthony Jackson
They were very strict to the point of super precision," Purdie recalls. "Really picky. They wouldn't take no for an answer and they wouldn't accept mistakes-period. It was truly frustrating in the beginning. I come from the school that when you feel good about what you've done, it's hard to do better. It only goes downhill from there. I learned to curtail my own feelings and just wait. They wanted it their way, so you had to do many takes.

They were the most demanding of anybody I've ever worked with," Marotta says. "Donald was like the Prince of Doom. For instance, I'd walk in the control room and it would sound unbelievably great, and he'd just sit there, looking at the floor, saying, 'Yeah, I guess it's okay'.
"0n 'Dont Take Me Alive', there's one backbeat in th 16th or 17th bar that was a little softer than the others. I'd say, 'Donald, show me where.' He'd wait for the tape to come around and he'd point it out. 'Right..... there .' He'd pick the same spot out each time. He wasn't crazy, he was just so microscopic.

From noon till six we'd play the tune over and over and over again," says Porcaro, "nailing each part. We'd go to dinner and come back and start recording. They made everybody play like their life depended on it. But they weren't gonna keep anything anyone else played that night, no matter how tight it was. All they were going for was the drum track." (The final product on Gaucho was a combination of 46 edits.)

Fagen, in particular, is a stickler for detail, so the only important issue is whether my detailing as interpreter coincides with his as composer. Once a stylistic approach to a song has been decided-such approach, of course, having been determined almost entirely by Fagen-the actual recording of the performance begins, and this is where the legend of cruelty to musicians originates. It's true that Becker, Fagen, and split more hairs than most and never hype players: no high-fives, no reverential cursing. You've played well? Good; next song. Or more likely: Not good; do it again. Still not good; again. Still not good; go home. Many did. This kind of ferocious performance-disciplining, far from intimidating me, sends adrenaline pouring into my bloodstream. Anthony Jackson.

Wether more or less this is the world of working for someone who is hiring you to do work for them, they have a personal vision too, and paying for it to be interpreted

Its sa this poster somewhere wisely stated " It’s pretty easy to sit outside the big markets and complain about how incestuous they are. Then you step into those big markets and you realize they contain whole universes. The competition is fierce. No, talent does not always rise to the top. But professionalism often does. A temperament and a capacity for managing the business environment, the clients and their often wacked out notions, peers, reps and agents, editors, the egos of all concerned, so on and so forth — and then on top of it to get shots: that’s what will get honed in those contexts. You don’t have to like it; hell, many of the people who go through it don’t *like* it. But most of those who manage to negotiate it one way or another will acknowledge they got something out of it, and that it made them “better” in some sense of the word.
Art, or voice, or vision, or whatever you want to call it, happens as an accident in this world. Everybody in the business is interested in it to some degree, but it’s rare that any of them get the chance to foreground it. Someone else’s expectations are always driving the car, and someone else’s credit card is always putting gas in the tank. Getting the job done — whatever the job is perceived to be by the ones who are paying for it — becomes priority one. Time matters; familiarity with the game matters; proximity matters; track record matters. You can’t blame people for minimizing risk when that’s part of what they’ve been explicitly charged with doing by the guys who put bread on their tables"

Maybe we just have to imagine not so much what will other photographers think but what would a stylist think. a booker, a magazine editor, which magazine would this place in, would it shift the designers garments

Its the key that unlocks the door