PRINT Summer 1966


Paul Hassel, Robert Heinecken, Phil Palmer

The photographer-editor relationship is a controversy that has been widely debated in the past and will no doubt continue to be widely debated as long as there are photographers and editors to debate. “The photographer must never be allowed to arrange his own work,” claims the editor. “He is too close to it. He falls in love with mediocre images because they were difficult to obtain. He is unable to subordinate the single image to the whole.” “Not so,” cries the photographer. “I was there. I saw. I pressed the shutter, and only I can decide the order and importance of each photograph.”

At the one extreme, we have Life magazine, editor-created. The photographer may have exposed hundreds of films of the same subject to achieve one photograph in the magazine. Since the photographer sends his exposed films to the magazine, not developing, printing, or selecting the final photograph—or seeing

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