Keith Money was beginning the first of his noted photographic books on the ballet exactly at the time the great partnership of Fonteyn and Nureyev was formed, and from the start he had a privileged view of the moulding of the two dancers into the team that was to take the world by storm in the 1960s. Money's camera recorded matters on an hour-to-hour, day-to-day basis, from first rehearsals to public performance. To complete certain sequences, the photographer (who had become a close friend of his subjects) often travelled extensively; once he joined the pair on a 7000-mile round trip.