All language subtitles for 14. Photographic Influences

On a huge fan of photography.

When I first started taking
photographs, there were not that many

books available.

There were not that many photography
books.

Now

there's a lot put out every year,

you say, is just

eat up

whatever books I could get and look at
books over and over and on over again.

So they're very, very important

to be inspired by

cardibrazon.

And then, of course,

Robert Frank, which they were, the,
consider

the fathers of 35 millimeter photography

that they were, the photographers, that
the Sam physical artist

emulated it.

What were they trying to

emphasize?

It really was this idea of how to see.

There was never anything

technical about it.

It was about how you see.

But the most classic cardiabors on is

this picture of the family

having their picnic on the Riverside.

But it's a beautiful composition.

It's just beautiful,

and it's very inviting.

Cardibran,

there was a French version of looking
at life that

saw the joys in life.

The matiste

photographs are charming.

I think cardibaison really, really,
really liked people, and he liked life.

Robert Frank, on the other hand, who
was the other

photographer that

I looked at very seriously in my early
days,

was a very serious,

sort of matter

of fact.

And

the imagery is a little bit tougher,

definitely a lot tougher.

This work going across America

it's

journalistic commentary,

very, very strong about

a look of

maybe a little dark, some dark stuff in
America.

It was a Guggenheim fellowship that
allowed Robert Frank to travel across

the country.

And some of the imagery

is so moving and strong.

And my family spent a lot of time on
the road.

My father was in the military, and we
travel from

place to place.

And

by car.

I've always loved this photograph at
the very end of the book,

the sun is rising in Texas, and he
turns the camera on his wife and child

in the car out in the middle nowhere,
and takes this photograph

of the car on the road, us ninety.

So it's been a beautiful

image.

It was Richard avadon that really, even
though I was probably looking at Irving

pen's photographs, I didn't know it,

I was more spellbound with Richard
avadon.

I really admired his ability to
psychologically

create a portrait out of nothing except
the person and himself.

And he was brilliant.

He had a roll of lex that was on his
chest,

or an eight by ten camera that was to
his side.

And he

talked to the subject,

just the power,

you don't feel the camera, and you're
really seeing the people.

Truly

a brilliant

man and a brilliant photographer.

I was enamored

with the simplicity of the white paper,
his ability to group people.

This one, the Chicago seven

people just walked in off the street and

didn't do anything to them.

He just was just standing up and

was taking these photographs.

Very strong.

He did an incredible series for
rollingstone magazine called the family

on government and life in America

at that time.

What was also very important about him
is he

produced books that

really emulated what cardi ambrizon
started to do, which

had important essays in them,

and

gathered his photographs,

put them together editorially, and said
something about his work

in the work.

And he was a very important

person to me, as far as

great example

for what to do,

how important it was to do, to do
books, and to stop

and look back at her.

The very beginning of the book has

photographs of his parents

he's, saying that he took his first
photograph of his mother and father,

nineteen o two, and here he is taking
probably the last photographs of his

parents at the end of the book,

that they're the most

beautiful imagery

from one man's life,

and

they're beautiful.

There's a whole series on this

woman he was in love with,

that just are extraordinary.

And he was an inventor.

He was there, you know,

for the first airplanes.

And

then these extraordinary,

this used to drive me

crazy.

This

photograph of a race car with the wheel
going the one way, and

the people going in others, because the
shutter of the camera pulled across

this way, and

it was actually taking this part of the
picture, and then it was taking this

part of the picture.

And so

it almost looks like

you can't believe, this kind of strange

with the wheel.

And the people.

I loved this book

for the longest time, I would say it
was definitely my favorite book.

Dianars used central park.

She would just walk across the central
park and use it as a place to take a picture.

And one of my favorite photographs of
the book is

that lillie and Dorothy Gish, the two
sisters

standing in the snow in central park,

just sort of like hugging each other.

And so

I just love the simplicity.

If she would just walk.

And, I mean, she would walk through the
park, and she would walk through the

streets and take pictures.

I loved this picture.

Jacqueline Suzanne and her husband at

the brevery hills.

Hotel

it's just so

revealing about them.

This book of her magazine work

was very, very important to me.

I would look at it time and time again.

When it comes to portrait work,

I end up going back to these images,
talking about these images this diglas

did of George o Keith.

I mean, they were in love with each
other.

They were married.

He was a great artist.

She was a great artist.

I really feel like she was taking the
pictures

when he took her picture.

She very much knew how to be amused for
him and enjoyed posing for him.

And she gave him so much.

You're seeing a woman in love with a man

in love, and it's not,

it's certainly not in the movies.

I mean, Stephanie she's a very strong
woman,

and she's holding her own,

and there's

some strength, but

she's also

so beautiful and so in love herself.

But they're extremely intimate

photographs.

I mean, he's in love with her, and
she's in love with him,

and he loves photography.

And

she loves

him in art.

She trusts him completely.

She loves him.

She's just

totally

given herself

to him.

And this

still holding on to herself a little
bit,

totally

some miracle.

This is on

it's captured on

film.

I love when she's not looking at him,
because it shows how much he loves her.

Those are probably the greatest
portraits of redonna's frog, miss worm.

These photographs of sallyman's
children are so beautiful.

And when you become a mother,

is such an instant experience

with your children.

And

I find it very brave that the selly man
would share

this intimacy

with us,

anyone who would

criticize that

they should be danced.

Because

when you're a photographer,

you see, and you can't stop seeing,

she broke through into that intimacy
that we.

We don't get it anywhere else.

And

there's nothing but love

in this work.

I think what Hockney does

for us as photographers is

makes it quite clear that

on some level the camera doesn't work
anymore.

I mean,

it's so limiting.

It's just

their rectangles

are holding you in on some level.

And I think what was so brilliant about
hockney's

study and perspective

where he opened it up and started this
collage work.

Was, it really,

to me, was the closest thing I'd ever
seen to how the eye sees, that

your eye doesn't see just straight
ahead, it sees the side.

It is an art to put it back into

a frame and into a rectangle.

What you see

there's something extraordinary about
opening that up

and just

letting it go.

And he taught me a lot about that.

For a while.

I was taking photographs so that

I shot to the left and I shot to the
right, and I put them together just so

that I could

see left and right, and put it
together.

And it doesn't look so different.

It allows you

the ability to have a

wider,

a wider viewpoint, without distorting
it with a lens.

It doesn't work in the long run,
because if you want spontaneity,

something is happening over here
different than what's happening over there.

And it doesn't always go together.

It gets a little messy.

Artist who influenced me, David
Hockney, is

on the top of the list.

I mean, primarily

his

fascination

with perspective and his study of
perspective.

And

I was sort of brought to my knees when

I saw his work with the polaroids,

that it sort of expanded the frame of
the camera.

You know, I think it's a great exercise
to

take your camera and

point it left, right up, down,

take a

photograph, that

is, many photographs, you know, like a
collage,

put it together like that, see what it
means to break

the

Borders,

to break the Borders of the rectangle,
or the square, and see what it means to

expand and

seek outside of that,

outside of that rectangle.

It's quite interesting, because in a
recent article on David Hockney in the

New York Times, he talks about he's now
studying reverse perspective, which

means that, if he thinks that
perspective is sort of overrated,

and especially in art,

in painting and drawing, and

it's kind of beautiful,

I've always been a bit jealous

in painting and drawing

that

you could,

then an arm could be longer, or

something could be moved.

And I think that there's something

interesting about learning about that.

So again, the exercise is to

take your camera and

take a photograph with many
photographs, and

collage them together, and see what it
feels like to

break that border of the rectangle, or
the square,