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[MUSIC]
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I had a studio.
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I had a glamorous, big,
beautiful studio in New York.
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And it had this wonderful
cement floor and a cement wall.
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And for the longest time, I was
looking at Irving Penn's work
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And for the longest time, I was
looking at Irving Penn's work
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and just loved how simple,
and direct, and strong it was.
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And it became my sort
of, my background.
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And I did several
portraits there.
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They're very, very graphic.
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I mean, they don't have too
much to do with the people.
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They just have to
do with the studio
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and the idea of presentation.
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It is what I do do when
I go into the studio.
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The very least, I
know how to compose.
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And these pictures are very
graphic, and very composed.
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And these pictures are very
graphic, and very composed.
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I think I've learned
after all these years
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that I'm an observer.
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I don't have enough to sort
of grab on to in a studio.
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I don't have enough to
tell a story for myself,
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personally, in the studio.
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I like a story.
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I like to be somewhere.
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I like to see something unfold.
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I like to see something unfold.
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If you're in a studio--
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for me, this is a
personal issue--
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if you're in the studio,
you pretty much--
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that's what you're getting.
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Not that you're
making it up anymore.
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You're not really making it up.
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And things still do unfold,
and things still happen.
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But they're not as
interesting to me.
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I just like to watch something.
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I like to be somewhere.
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I love the light changing.
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I love observing.
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I love observing.
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I just feel like
at a certain point
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the studio doesn't
give me any of that.
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I never felt comfortable
as a studio photographer,
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but I was enamored and loved
Irving Penn's portraits
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in a studio.
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So this floor and
this wall sort of
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So this floor and
this wall sort of
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became my Irving Penn exercise.
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And in this particular
series of photographs--
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which I now think of coming
from having that studio,
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and having that
floor and that wall--
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to me, I look at them now and
I see the floor and the wall
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more than I see the people.
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But they really are
very good examples
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of very simple composition using
the perspective of the horizon
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of very simple composition using
the perspective of the horizon
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line--
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of where the horizon line hits.
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You see Chuck Close,
and that's really
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coming down lower to look at the
wheelchair from a lower angle.
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Al Pacino and Robert
De Niro, I can
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see that I'm basically
just standing up and just
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using my own height to
shoot back at the people.
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And I'm sort of
definitely seeing
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where is that horizon line
hitting in the photograph.
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where is that horizon line
hitting in the photograph.
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And I'm using that as
part of my composition.
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I'm not even so
aware I'm doing that.
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And Lucinda Childs--
who's a dancer--
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she's like a diagonal,
cutting across the horizon
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line in the back.
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And you see much more floor.
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So this is just a
simple exercise.
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By looking at these--
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these are four of probably
many, many photographs
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I took in that studio where
the floor and the wall
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I took in that studio where
the floor and the wall
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became part of the composition.
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I think on some level having
worked the studio like this,
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I became very aware
of how I wanted
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to get out of the studio.
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Because I know one
thing about myself is I
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can always back myself
up with composition.
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And I feel like it's a
little bit of a crutch when
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it comes to portraits.
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And even though I kind
of like the simplicity
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of the portrait
that way, I'm not
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of the portrait
that way, I'm not
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too sure it says enough
about the subject.
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And I miss the storytelling
aspect in my photographs
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that I love the most for you
can get that on location.
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And it is a lot harder.
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But I think in
these pictures, you
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can see the simplicity
of composition.
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can see the simplicity
of composition.
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I know that my photographs
when they're on location--
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if they're in someone's
house and someone's sitting
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in a chair that they sit in
or we're in a place that has
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something to do
with that person--
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it's going to be a much stronger
photograph for me than for me,
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personally, in the studio.
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I sort of use the studio as
for like passport pictures
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or something.
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I mean, I'm not bad at it.
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If you get someone
like LeBron James
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If you get someone
like LeBron James
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and you want to do
sort of a body study,
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I think the studio is a
very handsome place to work.
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I think I've learned that
the being on location--
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I mean, I'm looking at
the Agnes Martin picture.
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She still had not agreed
to let me take her picture.
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She still had not agreed
to let me take her picture.
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And I went out to Taos,
New Mexico, with the idea
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that she still hadn't agreed.
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It was just one of those
things that you just--
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I had lunch with her.
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And then she said I
could come to her studio.
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And I went to her studio the
next morning and walked in,
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and there was this bed
and there was the canvas.
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And I said, well, what do
you do when you come in here?
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And I said, well, what do
you do when you come in here?
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She said, well, I come
over, and I sit here,
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and I wait to be inspired.
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I'd love that.
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I just love that.
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Isn't that what we all do?
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We wait to be inspired.
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And so I said, would
you just sit there?
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And so she sat
there, and it's just
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like one of my favorite
photographs of her just
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sitting here.
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It's what we all--
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we're waiting to be inspired.
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we're waiting to be inspired.
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She thinks of
herself as a writer.
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No, she's, of course, so
much more than that to us,
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to all of us.
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It was like I asked her how she
would like to be photographed.
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And she said,
well, I like to sit
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on the rocks in Central Park.
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And so I said, OK.
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Which rock do you
like to sit on?
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Which rock do you
like to sit on?
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There's a lot of
rocks in Central Park.
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This story is more
complicated than that
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because the rocks in Central
Park mean a lot to her.
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She feels like the rocks were
there before all mankind.
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But I found a rock that I
thought was kind of nice
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and it was a rather large
rock over by the pond.
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So we went out and
did some photographs
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of her sitting on that rock.
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And they were nice.
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They were nice.
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And then we went
back to her apartment
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and she sat down at her desk.
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and she sat down at her desk.
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And I just looked at her over
at her desk and I just said,
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this is great.
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You know, this is--
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and I just took some photographs
of her sitting at her desk.
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And it's quiet.
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We're so complicated
as human beings.
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There's so many parts to us.
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It's really one of
the complications
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of doing a portrait of
someone is that I just
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of doing a portrait of
someone is that I just
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can't get it in one photograph.
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I don't know if I believe it.
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I think you have--
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this portrait is going
to be like a small piece
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of that person.
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And it's also my point of view.
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So when I look at
this picture of Gloria
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in the room at her
desk, I think, well,
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that is part of Gloria but
that's not like Gloria.
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And I'm glad to see
that part of Gloria.
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This is a difficult assignment
because I'm not too sure what
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I think about it myself.
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But you'll find out yourself
that if you photograph someone
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with a simple background versus
a location that means something
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to the subject, it'd
be interesting to see
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what your results are.
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See how it affects the
subject being in a place
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See how it affects the
subject being in a place
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that there's a
studio-like feeling.
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It can be just the wall.
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And then try being in a
place that means something
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to the subject or that is a
location that it has something
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to do with the subject.
13935
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