While Lindbergh has photographed basically every supermodel from the late '80s through today, his shot of a gaggle of models (including the likes of Linda Evangelista, Christy Turlington, and Rachel Williams), frolicking on a beach in California, goes down as one of his most memorable. (Plus, it was a gamechanging photograph for all of the models involved.) And the behind-the-scenes story behind the shot sounds like something straight out of The Devil Wears Prada. Or, you know, just a Monday at Vogue. "People always ask me if my views on women have changed after photographing them for so many years, and I always say no. When I put the supermodels together in 1988 [for that shot], I had the same feeling. I was kind of fed up with women in magazines being presented as so photoshopped, and not as raw. [Photoshopping] is one of the problems with fashion that still exists today. But it's also this idea that you can become the person you want if you buy the clothes; you can pretend to be that person. That's nice, but it's also dangerous. "When I was in art school, there were kids who would come to class because they wanted to do something and say something — they wanted to express themselves; they had a mission, and it wasn't to have 45 pairs of high heels in their closets. They [simply] wore T-shirts and tennis shoes. "And that's what I said to Mr. [Alexander] Liberman, who worked for American Vogue at the time. And he said, 'Why don't you show us how that looks?' And that's where the [idea of shooting] white shirts on the supermodels came from. And today, nothing has changed except for the Photoshopping. When I see all of the Photoshopping done to models these days, I could cry. What is a woman who defines herself by how she looks when she's 50, as opposed to a woman [focused on] her experiences in life? And I capture that in my pictures. But then, the retouchers go and airbrush it all off and say, '[now] that's beautiful.' No, it's not." The iconic photograph was later scrapped by Liberman and shoved in a desk drawer: Anna Wintour rediscovered the photos four years later, after she became editor-in-chief of Vogue, according to Lindbergh. She ended up using only one of the shots, though: Lindbergh recalled that Wintour told him she would have given him the cover and a 20-page spread in Vogue, had he shot the photos during her time helming the magazine. "But that shoot wasn't even emotional for me, as most of them are. I did that simply for the light; that was the end of the story," Lindbergh told us. "But today, for example, to do the Pirelli calendar required a high amount of emotion. I was emotional because I'm in love with all of the women in the calendar, but it wasn't so much because of the experience [of shooting the calendar] itself, but because they agreed to do it."