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These are the user uploaded subtitles that are being translated: 1 00:00:06,272 --> 00:00:07,307 Editing is so important. 2 00:00:07,874 --> 00:00:09,943 Knowing how to edit your work, knowing what you have. 3 00:00:10,977 --> 00:00:13,113 I was very lucky because, as b fightler 4 00:00:13,780 --> 00:00:16,816 took me under her wing and gave me some extraordinary 5 00:00:18,18 --> 00:00:18,718 advice. 6 00:00:19,452 --> 00:00:21,921 That for someone who wasn't listening to anybody, 7 00:00:22,655 --> 00:00:24,958 I'm kind of amazed that I listened to her. 8 00:00:25,959 --> 00:00:28,628 She designed mis magazine for Gloria synum. 9 00:00:29,462 --> 00:00:33,867 She was, of course, the art director at harper's bazaar, after brodovitch with 10 00:00:33,933 --> 00:00:35,669 ruth ansell, and did 11 00:00:35,869 --> 00:00:37,604 an extraordinary number of years there. 12 00:00:38,672 --> 00:00:42,75 She knew how to edit, and I did not know how to edit my work. 13 00:00:42,509 --> 00:00:44,144 I learned how to edit my work 14 00:00:45,211 --> 00:00:45,645 through her. 15 00:00:45,779 --> 00:00:48,648 She would look at my work, and 16 00:00:49,315 --> 00:00:52,185 she knew right away what the good picture was, and I couldn't understand 17 00:00:52,419 --> 00:00:52,585 it. 18 00:00:52,652 --> 00:00:53,486 How she knew that. 19 00:00:53,620 --> 00:00:55,355 And I was sit there and 20 00:00:55,689 --> 00:00:56,956 delaborate for 21 00:00:57,390 --> 00:00:59,192 looking at every single frame for 22 00:01:00,360 --> 00:01:03,363 hours, and then come up to the same, 23 00:01:04,264 --> 00:01:08,1 wonder why she picked a sheep, ackned, and try to 24 00:01:08,568 --> 00:01:09,602 understand that. 25 00:01:10,270 --> 00:01:12,639 And I think by doing that over and over, 26 00:01:14,40 --> 00:01:17,110 I began to realize how to look for work 27 00:01:19,79 --> 00:01:19,779 for the better work. 28 00:01:19,879 --> 00:01:20,847 Editing is so important. 29 00:01:21,381 --> 00:01:23,683 Knowing how to edit your work, knowing what you have 30 00:01:24,918 --> 00:01:27,320 tied with that very closely is another thing. 31 00:01:27,387 --> 00:01:30,223 That bha taught me or told me, which is 32 00:01:31,57 --> 00:01:32,258 to look back at your work, 33 00:01:33,393 --> 00:01:35,195 to stop every now and then 34 00:01:36,663 --> 00:01:37,931 see what you have. 35 00:01:40,667 --> 00:01:41,267 Edit that 36 00:01:42,35 --> 00:01:46,172 no matter how much I was looking at other photographers were, 37 00:01:47,374 --> 00:01:51,511 you would have no sense of what you were doing unless you stopped 38 00:01:51,945 --> 00:01:52,946 and looked back 39 00:01:53,213 --> 00:01:54,247 at what you had done 40 00:01:54,681 --> 00:01:56,149 and made some sense out of it. 41 00:01:57,851 --> 00:01:59,519 That was probably the 42 00:01:59,853 --> 00:02:00,653 greatest advice 43 00:02:01,54 --> 00:02:01,955 that b gave me. 44 00:02:02,88 --> 00:02:02,555 Because 45 00:02:03,790 --> 00:02:07,861 it's interesting to me now is years have gone on, how so many photographers 46 00:02:08,328 --> 00:02:09,129 don't do that. 47 00:02:09,529 --> 00:02:12,332 Has so many photographers to shoot and shoot and shoot, 48 00:02:13,133 --> 00:02:14,234 and they don't stop 49 00:02:15,368 --> 00:02:16,803 and look at and see what they did. 50 00:02:26,279 --> 00:02:31,151 I think that this selection process can be a very personal one, that it has to 51 00:02:31,151 --> 00:02:32,952 do with where the image might end up. 52 00:02:43,296 --> 00:02:46,866 I looked back and saw my early repetage, and I was 53 00:02:47,0 --> 00:02:50,103 envious of that young photographer going out there and taking pictures 54 00:02:50,337 --> 00:02:51,371 with such abandonment. 55 00:02:53,873 --> 00:02:56,943 You can't go back, you can't go back there. 56 00:02:57,477 --> 00:02:59,679 But you can learn from what you did do 57 00:03:00,113 --> 00:03:02,15 and apply it to going forward. 58 00:03:02,248 --> 00:03:07,220 And I actually did try to borrow from that a bit and put it into the more 59 00:03:07,320 --> 00:03:08,788 formal portrait word. 60 00:03:10,23 --> 00:03:11,791 I definitely used that experience 61 00:03:12,892 --> 00:03:13,593 to go forward. 62 00:03:16,96 --> 00:03:18,865 That is why it's important to look back, 63 00:03:19,632 --> 00:03:20,33 to stop. 64 00:03:20,266 --> 00:03:22,402 And look back, you'll be surprised, 65 00:03:25,238 --> 00:03:28,308 there'll be something there you didn't expect to see. 66 00:03:45,558 --> 00:03:48,828 This was great roose, and it got it all contrastsy and weird. 67 00:03:49,629 --> 00:03:49,863 And then 68 00:03:50,997 --> 00:03:53,533 I saw the Xerox machine version, 69 00:03:54,668 --> 00:03:56,803 and it's much more beautiful 70 00:03:57,370 --> 00:03:59,706 and not as contrasting, weird. 71 00:04:00,340 --> 00:04:02,509 And it has more total range in it. 72 00:04:02,809 --> 00:04:04,511 And then I sucked this on top of this. 73 00:04:04,678 --> 00:04:08,682 And then I guess Alex went ahead and made that, which was so nice, you know, 74 00:04:08,815 --> 00:04:11,151 even though it's cool, it's a really nice print. 75 00:04:11,718 --> 00:04:13,953 So it has some blacks in it, but it has 76 00:04:15,155 --> 00:04:15,321 colors. 77 00:04:16,22 --> 00:04:18,191 And it's not like, when you look at it, you just see contrast. 78 00:04:18,758 --> 00:04:21,294 So I'm just let, you know, if you get a Richard file, 79 00:04:23,229 --> 00:04:24,898 you can, especially in the bigger pictures, 80 00:04:25,932 --> 00:04:26,266 you should. 81 00:04:26,900 --> 00:04:30,36 We can always get into dalex, but if you want to do, if you're doing them 82 00:04:30,36 --> 00:04:31,204 too, thank you are. 83 00:04:31,471 --> 00:04:34,274 If you just make sure that we cover the gate. 84 00:04:34,441 --> 00:04:35,842 So I said that was a good example. 85 00:05:16,750 --> 00:05:17,450 As may go after, 86 00:05:32,332 --> 00:05:34,567 I don't, I know we're not going over here, so 87 00:05:35,869 --> 00:05:36,970 just take yourself here. 88 00:05:37,704 --> 00:05:38,705 But that's stuck here in, 89 00:05:43,476 --> 00:05:45,779 just this, next to the big picture. 90 00:05:46,12 --> 00:05:46,279 Michael mcclire, 91 00:05:47,380 --> 00:05:49,916 to the left of it, right under Michael Bluefield. 92 00:06:02,95 --> 00:06:05,932 These are two saras's good music stories, which I'm just waiting to see 93 00:06:07,133 --> 00:06:10,70 what happens here before I move into that. 94 00:06:10,704 --> 00:06:11,204 Ok? 95 00:06:14,40 --> 00:06:19,145 You just have to work and not give up during the miserable times, and just 96 00:06:19,145 --> 00:06:19,879 keep doing it. 97 00:06:20,513 --> 00:06:22,515 It's rewarding to keep doing it. 98 00:06:22,582 --> 00:06:23,516 When you think 99 00:06:23,783 --> 00:06:24,784 you can't do it anymore, 100 00:06:25,852 --> 00:06:27,354 it only gets more interesting. 101 00:06:28,988 --> 00:06:31,157 And who knows what's going to happen with technology. 102 00:06:31,558 --> 00:06:33,693 And what's how you want to apply it 103 00:06:34,761 --> 00:06:35,695 to what you're doing. 104 00:06:37,63 --> 00:06:38,98 But your work is so important. 105 00:06:39,799 --> 00:06:44,571 I can't tell you how important it is to express yourself, and then take your 106 00:06:44,571 --> 00:06:48,174 own feelings and express what's going on in this world. 107 00:06:51,711 --> 00:06:54,881 You do this long enough, and there are so many different ways 108 00:06:56,16 --> 00:06:56,783 to approach 109 00:06:57,450 --> 00:06:58,718 every single day. 110 00:06:59,719 --> 00:07:03,690 Some days will be really hard, and some days would feel like magic, and some 111 00:07:03,690 --> 00:07:05,925 days will feel terrible. 112 00:07:06,993 --> 00:07:07,694 Like life. 113 00:07:08,661 --> 00:07:11,31 It is a life, and it is a relationship, 114 00:07:11,631 --> 00:07:15,368 and it needs to be nurtured and taken care of and Fed. 115 00:07:17,70 --> 00:07:17,771 Their rewards 116 00:07:18,438 --> 00:07:19,205 can be wonderful. 8737

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