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Andrew HeiskellAndrew Heiskell
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Session:         Page of 824

or hardly ever being there. This put them in a strange, frustrating position in that they had created the pictures but never had any say over which pictures they thought were the important ones. It was a young bunch of types--

Q:

Why was that?

Heiskell:

Why was it?

Q:

Why did they loose that power?

Heiskell:

They never achieved it!

Q:

I know; why didn't they?

Heiskell:

I think mainly because the managing editor had an awful lot to do. You know, when a story came in it would sometimes have 500 pictures, and the department editor--me, for instance--would winnow it down to 40 or 50. And then you would take those in and organize them in some kind of logical way, and show them to the managing editor, so that he could make a decision as to whether he felt this was a good story or not. And he would just riffle through them, and literally, he had learned to go through 50 pictures in a minute. I have to say, if the photographer had been there and watched that process he would be so upset at what seemed like very little attention being paid to each individual chef d'ouevert which the photographer thought that each each picture was, of course.





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