However, behind these works are a number of serious artistic projects, whereas Teller has admitted that, though it is important to him to create photographs that ‘leave your imagination free to think about what kind of life this person leads’, he also ‘enjoy[s] taking pictures of a girl in – and out of – clothes.’ There are touching, almost diaristic moments in the book, too. One particularly striking image sees Teller standing naked by the grave of his dad, who took his life in 1988. They had aturbulent relationship, with his dad being aheavy drinker and abusive to his mum, who Teller was very close to. His dad was very musical, playing five instruments, while his mum was sporty, well into football. He got the sporty side from his mum, not so much the musical stuff. Scheyer, Kate (21 September 2009). "Juergen Teller: "We've Got the Louvre to Ourselves, and You're Going to be Naked in Front of the Mona Lisa" ". Vanity Fair. No.September . Retrieved 13 March 2019. Though we are aware that the photographs belong to a real narrative that involved Teller and his visitors, the visual aspect of the girls – what we see when we look at them – are overwritten by the codes that govern our readings of a femininity mediated by the fashion industry. Teller’s photographs are not portraits in the sense that they seek to describe the individuals depicted, as the various Rebeccas, Giseles, Hannahs, Ninas, Naomis, Saskias, Zanettas, Jades, Charlottes, Saffrons and Juliettes all look the same – all conform to a limited notion of modelhood, all have the same look of rueful candour, slightly tainted by a vague awareness of the voyeuristic lechery of the camera lens. I thought it was a weird idea – girls coming to see me as a man. I wanted to do it for one year and see what happened. In a way, that was my first conceptual project.

The Retention Period depends on the type of the saved data. Each client can choose how long Google Analytics retains data before automatically deleting it. Some looked really fragile, anorexic, standing there in the middle of the road with their book in their hands. I was thinking, ‘I can’t believe it, it’s insane.

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Made over a twelve-month period, Go-Sees is a collection of photographs that depict the hundreds of women and young girls who called at Teller’s studio for an informal meeting in the hope of securing the modeling contract that would lead to fame, fortune and a life of ‘glamour’.

It made asweet photo. Anaked Teller cradled like achild by Rampling, who had bed sheets pulled up over her chest. ​ “That was awonderful photograph and awonderful experience. We’re still friends,” he says. Besides, who is Juergen Teller, anyway? World-renowned photographer. Icon of the ​ ’90s. Icon of the ​ ’00s. Wearer of neon-coloured short shorts. Occasional smoker. Husband. Cool guy. Funny guy. Shy guy. Famous guy. German guy. Story Teller? Definitely. Dazed (2 February 2018). "Juergen Teller shoots and stars in the new Palace lookbook". Dazed . Retrieved 13 March 2019. I didn’t want to carry it with me anyway. It was heavy and you had to carry films. Iwanted to be free with just acouple of clothes and go as far away as possible from my parents, as you do when you’re young. Poem on the Inner Sea at the 52nd Venice Biennale / PinchukArtCentre". PinchukArtCentre.org . Retrieved 13 March 2019.Dazed (25 January 2017). "See Juergen Teller's new visuals for adidas". Dazed . Retrieved 13 March 2019. In his time, Teller has shot naked pictures of Helen Mirren, Vivienne Westwood, Lily Cole, Lara Stone and himself – many times. But as he points out, ​ “within the percentage of nudes in the book, it’s actually not so much.” The Go-Sees is a seminal work from Teller’s early career. Produced over the course of one year from May 1998, and shot from the threshold to Teller’s West London studio, the title of this series documents an industry term for a photographer’s first meeting with a new model. Unlike a casting, the ‘Go-See’ is a model’s testing ground; an open-ended encounter between the photographer and model, without the prospect of a definite commission. Like casting appointments, these events determine the potential career success for the model. Teller’s series obliquely interrogates the fashion industry with which he is involved. This book traces the five-year construction of Plumtree Court, Goldman Sachs’ new headquarters in Central London, through Juergen Teller’s inimitable vision. Teller relished immersing himself in such a long-term project, one thrillingly different to the fashion world he knows so well. From the rising walls of reinforced concrete and lattices of scaffolding, to the sparkling glass facades and gleaming interiors of the finished building, Teller became obsessed with recording intricate details within the larger shifting context: “I liked the diggers, cranes, cables, concrete and dirt. Not in a macho or childish way, but appreciating how all this construction work produces such a beautiful mess.”