Who: Susan Shaughnessy, Producer

What: Manage people, schedule, communicate, delegate, problem solve, have fun, take responsibility; write checks; provide deliverables/links to casting, scouting, and visuals that need approvals; take care of photographer; organize everything; insure everything; handle travel, catering, transportation; create production books; answer questions, ask questions, provide confidence; do due diligence; be flexible; stay on budget, get overages approved as needed; work closely with art buyer-producer/agency, accept praise on behalf of crew.

Where: Brooklyn is home, but I produce anywhere

How: www.sksproductions.com

Who: Jayne Wexler, Lifestyle and portrait photographer

What: I find a producer if the budget allows one. Go over the layout, all the details, and shot list. Discuss the casting with the producer. If a location is needed, we find a scout and start scouting. On shoot day my assistants and I set up lights. Then they usually get the set ready and shoot a digital-Polaroid for me to see. In the meantime, I discuss the details with the prop and wardrobe stylists and the hair and make-up artists. Once we are set up and I’m happy with my lighting and composition, we start shooting. After the shoot we edit the images and choose the best selects for the job, then we either make a website or send a disk or hard drive to the client with jpegs. Depending on the size and complexity of the retouching, the client will either retouch in-house or I will use one of my retouchers. Then there is the billing, which can take as long as the production.

Where: I live in NYC — “Nolita” — been in the same apartment for almost 23 years! My studio is on Vandam Street, west of Soho.

How: www.jaynewexler.com

Who: Kevin Schochat, Photographer’s agent

What: When a request comes in, I  go over the specifics of the job with the creative in charge. I then work closely with the photographer and producer to prepare a detailed photography estimate. I negotiate all fees and rights for the photographer. Once the job is awarded, I follow it closely to make sure everything is running smoothly and we are staying within budget. I also go to the shoot, if it is local, to see how it is progressing, meet the client, and deal with any last minute questions or changes. After the shoot, the photographer and I usually review the invoice together. Then I contact all the key people involved to make sure they are happy with the results and thank them for their business.

Where: New York City

How: www.kevinschochat.com

Who: John Robinson, Prop stylist and set designer

What: Once a concept has been approved by the client, I get the sketch or comp that the agency created for the ad. Then I create detailed sketches of what the set will look like. We also shoot images of all props options and provide images or samples of all textures, wallpapers, and fabrics that will be needed to create the image. Once prop selections are made, we purchase or rent them, then begin building the set. Once everything is collected and built, we go into the studio beforehand and assemble the sets. After the shoot we take down the set, return rentals, send purchases to the client, and salvage and store anything that may could be useful in the future.

Where: Just outside of Austin, Texas, plus an apartment in Manhattan. I work as a local in L.A. and N.Y., and I’ve done shoots in Vegas, L.A., San Diego, Austin, Chicago, Montreal, and N.Y. this year.

How: www.johnrobinsondesign.com

Who: Gillean McLeod, Wardrobe stylist and costumer

What: I talk to the art director and photographer, and we look at the comps, then I shop for clothing in stores and costume houses. There is usually no time for a fitting, so all is done the day of the shoot. When we’re done with the clothes we bought, I either donate it or send it to the client. The rest is returned immediately after the shoot.

Where: I live and work in Los Angeles, but try to work away as much as possible since I love traveling.

How: www.gilleanmcleod.com

Who: Stephanie Daniel, Makeup artist and hair stylist

What: Prior to the shoot, I discuss with the photographer the desired look of the model, do the necessary research to achieve it, and get approval from the photographer/client. On the day of the shoot, I style the hair and makeup of the models to achieve the desired effect, then make sure their looks stay in place by touching them up between shots. Once the models are done, I’m done.

Where: I live in Santa Monica and work all over L.A. and N.Y.

How: www.stephaniedaniel.net

Who: Michael McClellan, Location Scout and production support

What: As a location scout, it is my job to interpret the art director’s and photographer’s vision. By using sample photography or sometimes just text, I set out to find the perfect location, then negotiate with the owner once the location is approved. After the initial scout, I load everything onto a website for clients to view and make their picks. I am a production coordinator and produce many shoots myself.

Where: Based in L.A.

How: www.madactive.com

Who: Nima Ghedami, Production coordinator

What: My job basically entails doing whatever the producer and the production staff need me to do. This could include finding studio space, arranging meals, or getting coffee. Production is mainly a problem-solving endeavor, and my job is to provide support so the production can move seamlessly.

Where: West Hollywood

Who: Piero Ribelli, Photo assistant

What: Before the shoot, I help the photographer decide the logistics, location, time of the day, and set ups. The day of the shoot, I set up lights and cameras with the other assistants, help the photographer stay focused on the images that the client needs, and socialize with the clients to make them feel comfortable. After the shoot, I usually help a bit with editing and reassure the photographer that all went well.

Where: Manhattan

How: www.pieroribelli.com

The New York Times Magazine pulled a photo essay by Edgar Martins after Minnesota computer programmer Adam Gurno pointed out one of the photographs was digitally altered. Starting as a comment thread on MetaFilter, the debate quickly heated up in the photo blogosphere. The controversy generated so much buzz that Talking Points Memos picked it up. More discussion here, here and here.

Some philosophical questions have also been raised around a photograph from Xinjiang, China, another of a woman in front of two military trucks. It evokes the famous “tank man” photo; however, a video clip on the Guardian shows that the trucks were actually backing away from her. Full analysis at The New Dominion.

Todd Walker from The Gallery Hopper linked to a great ongoing piece called “My Best Shot” in The Guardian, which includes interviews with 100+ photographers discussing the one image they are proudest of.

The Lucie Foundation is hosting an outdoor projection series called Pro’jekt LA at Space 15Twenty in Los Angeles starting on July 16. Three photographers will be featured in each show, on the third Thursday of the month through September. Tania Fernandez, Jeaneen Lund and one special guest will kick off the series.

In the past I have offered a diplomatic answer because I know the question is coming from a place of apprehension, and I hate to be one of those arrogant asses who throw out an answer that will potentially change someone’s life without being sensitive to their context. But the question came up again in reverse form this week via email: Do I need to stay in Los Angeles to start my career, because I’m really over this city. So it’s time to address the question definitively. The short answer is, yes.

If your goal is put out a shingle and make a nice living as a local fashion photographer, then there are alternatives to moving to a big market. But if you’re looking for myriad opportunities to turn your talent and training into a career, you must immerse yourself in an epicenter of the industry. I say this with conviction because, had I moved back home instead of staying in Los Angeles after I graduated from school, my career would be a shadow of what it became.

Big city big opportunities for you and thousands of your peers
Aside from the obvious factors of logistics, knowing no one, and not knowing the terrain, moving to a city where there is an advertising or fashion/celebrity market is intimidating because you’re not the only one trying to make it. In fact there are a lot of you trying to make it, and you’re all probably pretty good at making pictures. These are your comrades and your competition.

Despite what you’re probably thinking, jumping into a pool with so much good talent is one of the healthiest things you can do for your career. Not only will you be exposed to styles and methods that you’ve never imagined, you will lose sleep trying to sort out how to compete. And that is where the magic lies: in the Darwinian epiphanies where you conjure an idea that’s better than the next guy’s. That’s one kind of creative motivation that can only come from the pressure of friendly competition.

More entry-level job opportunities in your field
Big markets, especially L.A. and New York, have a lot of of entry-level job positions in your field. This is valuable for making a buck, staying abreast of the industry gossip, getting exposed to the names of the industry players, and generally understanding the vibe of the career you’ve chosen. These jobs also carry little expectation of a long-term commitment. As soon as anyone who works for me starts exhibiting flawless performance, I know they’re about to depart for the next level of their life. You should go into these jobs with the same attitude: expecting to leave as soon as you’ve learned all you can, or you’ve saved enough money, or you’ve built your portfolio enough to start showing — whatever the reason, have an exit strategy. But, like I say in my book, never forget where you come from either. If you move past the people you work with, never lord your success over them. Remember you would be nothing without them.

More opportunities to shoot for money
I am forever grateful for the vast headshot market in Los Angeles. During lean times when I was seriously questioning how I was going to pay my bills, I was saved by the actor community. Headshots are not the most glamorous of shooting jobs, but it is a market you can break into fairly quickly and cheaply. All you need is a nice location with good natural light and a camera. Do a good job with one actor and they will recommend you to their friends. Clients usually pay in cash on the day of the shoot and the gig is a short term commitment. Best of all, it doesn’t adversely affect your reputation like shooting an ad campaign for an Alpaca porn DVD. (I’m not admitting anything here.)

Masters and heroes live in the big markets
Large markets tend to attract the heavy weights of the industry. Not only will you probably get to meet one of your heroes, you will interact with all kinds of editors, art directors, and writers who are masters of what they do. You can’t beat this type of exposure. Not only for your career, but for your sensibility as well. I can write volumes of what it’s like on the other side of magazine and agency doors, but you’ll never really feel it until you experience it for yourself.

If you can, transition slowly
When I first moved to L.A. from San Francisco, I was visiting model agencies trying to expand my model testing career on the side while going to school. It certainly made it easier to get my ass kicked in the real world when I could always return to the safety of school. I highly recommend this path, it lessens the shock of the transition. If you are out of school or not going to attend school, the transition to a new city can be tough. But once you get through the first year of emotional tumult, you’ll be acclimated and focused. That’s when the fun begins. Be smart, always keep in mind why you moved, and keep your eyes open — golden opportunities rarely present themselves the way you expect them to.