2 - Valerie Jardin: Capturing Authentic Moments

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Creativity only starts outside your comfort zone.
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You should not shoot what you think people will like. You should shoot what makes you happy.
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It's not about the technical part. It's about the emotion.
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Welcome to Talking Frames, the podcast where art and photography come to life
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through stories, inspiration, and creativity of photographers and artists.
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Each episode dives into the journeys, techniques and passions that shape their
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work Offering a glimpse into their creative process and the stories behind the
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frames that define their work.
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Firstly before I start I expect many of you will have heard that Iberian X Who
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hosts the long-standing podcast The Candid Frame That he and his family have
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lost their house and the majority of their possessions in the LA fires,
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A GoFundMe page has been set up to support the family, rebuild their lives And
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a link to the page will be in the show notes.
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In this episode i'm delighted to be speaking with valerie jardin about
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some of her recent work that include the one century and
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one love projects valerie is a renowned
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visual storyteller and her work is characterized by a strong sense of narrative
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and she's recognized internationally for her street photography as a fuji x
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photographer she helps clients find their creative vision through the photographic
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arts please do look out at some of her more recent work on her website and give
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Valerie a follow on her Instagram page.
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Thanks for listening, and I hope you enjoyed this conversation.
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I suppose it would start back from the beginning, your journey into photography.
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Am I right you worked in corporate business for a while beforehand?
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For a very short time when I moved to the U.S., but I worked for corporate America for a year.
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That was plenty for me. and it's it's
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quite a bit later in life that I actually started photography and
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it very quickly became became my job and so uh so I worked with I worked for
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commercial clients quite a bit and I tried pretty much everything a photographer
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can uh can shoot from from weddings yes I did a few weddings.
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To architecture, food, portraits. I even had a studio for a while.
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I worked a lot for interior designers, photographing spaces for art.
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Or architects or designers. And yeah, it was great.
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I learned so much, so much. You can probably throw me in any situation.
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I can probably handle it. And, uh, but I think it's, it's important to try a
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lot of things because you don't know what you love until you try it.
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And so, so what I was, while I was working commercially and really,
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I was such a new photographer, while I traveled, I was photographing moments
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of daily life, like a lot of people.
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I don't think street photographers start doing street photography in their own town.
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Usually, they start that when they're traveling because they find the location
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more exciting, more interesting.
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And so, that was the case for me. I usually would actually do a lot of street,
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quote-unquote photography in france when
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i would travel back home every year but but
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then i you know i started doing it in my own environment and
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i really believe that photographers should
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do their best work at home you have
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the advantage of knowing the location really well where
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the light is gonna be at where at a certain time
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and you know the the way people
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go around about their day and everything so
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the more familiar you are with a with a place
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the the the the more
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chances you have of getting getting strong shots and
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so so that's one uh one first tip is not to only do street photography or however
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you want to call it documentary photography only when you travel because you
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really should do it almost every day but what took you from that into street photography.
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People started to talk about
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my work and and asked
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me could you teach and i'm like teach what you know that's just the way i see
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i never learned i never i can't even say i was inspired by anyone in particular
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because i just naturally reacted to moments that moved me and so to me it's
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like how can I teach that?
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Because it's not something I learned.
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And so that kind of planted a seed because,
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It became kind of a goal as I was, as my kids were getting older and more and
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more independent, I thought, well, maybe now is the time for me to just spread
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my wings and really do what I want to do.
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And of course, traveling for your photography is the dream of every photographer.
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And I'm still really, really new at this at the time. And I said, let's just do it.
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And I launched a one week long.
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I didn't start with a day or half a day or like most people when they teach
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workshops like a day or a weekend.
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No, I was a full seven-day workshop in Paris, all inclusive.
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I learned a lot since then, you know, that I don't have to do all this.
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And actually, it was a bit too much not looking back. You know,
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it was every dinner was included.
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Everybody was in the same hotel and everything. I mean, it was lovely.
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I made lifelong friends from that first workshop and people who've come on so
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many other workshops since then, but it was a bit much.
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I think people need a little bit more time on their own and free time.
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But I ran a workshop. I had never taken one. So I really did it the way I would want it to be.
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There is no recipe. It's all about your own personality.
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And so I really handled it the way I wanted.
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I would have liked it if I was a customer. and so
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that was over 12 years ago now wow you're
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still doing it even today oh yeah i mean that's
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my main gig yeah i went from one
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workshop year one uh that one week
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long workshop in paris which was in the fall to nine the following years as
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far as australia as far as australia actually so taught everywhere i was in
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la that year i was in australia back to paris a couple times i did a few local
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workshops in the U.S. as well, weekends, then.
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And then before COVID hit, I was teaching 15 workshops a year,
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pretty much all international.
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So I think COVID hit the reset button for me, realizing that I'm doing way too much.
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It's so hard. When you do what you love, it doesn't feel like work. I really enjoy it.
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That's where I thrive. I mean, I write books, I exhibit my work,
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but that's not what makes me happy. That doesn't feed my soul.
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What feeds my creative soul is sharing my vision and my passion with other people.
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And so then, like everybody else, for a whole year, people were not allowed
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to travel, so I had to put the workshops on hold for a whole year.
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And then I decided to actually have like four weeks in between international travel.
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So I had to cut back a lot. But it's good. Now I find eight to ten workshops
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a year is still pretty good,
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especially a lot of them are several days long and take me away from home for
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more than a week at a time.
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So it's been fun and I love it more every day.
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So that's not something you can do if you don't love it.
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It's like weddings. If you don't love it, it's going to show in the work. and workshops and.
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Is workshops, it's all about people. It's about people more than it is about
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photography. You have to love people.
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You have to really enjoy teaching, sharing, and making friends.
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And I mean, I have such a high rate of repeat customers. It's fun.
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Sometimes I feel like I'm going on vacation with friends.
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I've had workshops with 100% repeat customers.
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So it's so fun. I love it. That's fantastic.
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Were there any photographers or artists who influenced your style earlier on?
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No, again, I never really looked at photography.
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I mean, growing up in France, you know, you're exposed to street photography.
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Everybody had the Cartier Bresson or Robert Doineau calendar every year for Christmas.
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And so you have that on your walls. You grow up with those images.
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They're part of the culture.
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So people often tell me I definitely have a French influence,
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although I started photography while living in the U.S.
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And my style is very French in the traditional sense, in the true tradition of street photography.
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And possibly that was the influence from the beginning is actually growing up,
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immersed in that in kind of an informal way.
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So I don't even look at photography. I don't have time.
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I'm so busy. People ask me, who is your favorite photographer?
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Who inspires you? It's life that inspires me.
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And so there's so many talented photographers out there that I discover every day.
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And I just don't have the time to, I mean, I love opening a good photography
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books and I have some really good books, but I don't have the time to go on
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social media and look at a lot of work.
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And honestly, your time as a photographer is better spent with your camera than
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trying to get inspiration from other people.
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You really should follow your passion, your heart, and find your own voice that way.
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What's your philosophy when it comes to street photography and how are your
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pros capturing those authentic moments?
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So for me, I'm such a purist. It's always completely candid.
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And as it should be, I mean, that's kind of like the number one rule of street photography.
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You photographing strangers, unposed moments. It should be a given.
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But it's not because a lot of people, you know, look for shortcuts. There are no shortcuts.
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And honestly, if you cheat by posing someone or asking someone to walk through
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that light or whatever it is, what satisfaction do you have?
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You just took the merit out of the equation at that point. And what's the point? It is difficult.
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It's the most difficult thing you're ever going to do.
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You only control your vision and your gear. You don't control what people are
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going to do. So it's the quick reaction time.
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And that's why I love it more and more every day. It's because it is difficult and you're never there.
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You're never at the top of your game.
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You keep learning and doing better work every day. And so, yeah,
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I am a purist, 100% candid moments, even though I get really, really close to people.
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I'm always very respectful. I'm not in people's face at all.
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I don't want to make people feel uncomfortable. So I work quickly,
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quietly, and conspicuously.
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And that's what I teach because I hate when I see people being confrontational or pursuing people.
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And you can clearly tell when the subject is feeling uncomfortable.
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And that makes me uncomfortable. And I don't want that. And that's why I really teach.
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Teach photography the way I do it and in respect and always photographing people
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also not only in a respectful manner in the way that I'm not in their face,
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I'm just grabbing quick shots and I walk by,
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but also portraying them in a respectful way.
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There is humor and there is ridicule.
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And they're very, very different things. I mean, capturing humor on the streets
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is amazing and very difficult.
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Capturing ridicule is fairly easy, but why do it?
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And I don't like that. I don't like looking at it either.
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When the subject is portrayed in a way that, for example, if it was you or your
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mother, your husband, wife, whatever, and you'd feel uncomfortable seeing that
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picture online, why would you post it or even take it?
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I mean, I have taken pictures of people in situations of ridicule,
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but I would never post them.
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So there is quite a big difference between humor on the street,
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which is subtle, and people in a situation of ridicule. And I don't like that personally.
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I mean, to each his own. I just find that we need to really respect other people
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if we want to continue to do this beautiful art of street photography without, you know,
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people getting really suspicious of you the minute they see a camera.
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Because you see a lot of photographers. I spot them a mile away on the street
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corners, whether I'm in Paris or New York.
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So they're not that discreet. No.
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I think a lot of people you know i think when i've
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been out and about it's quite easy i'm the most it's
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quite easy for any of us to spot a street photographer it's kind
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of i don't know they have a certain look about them or certain cameras and it's
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quite funny really but i suppose you know what's how would you remain sort of
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creative especially when you kind of choosing familiar locations i think a lot
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you know for people who can't leave countries or this you know being around
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their own towns or whatever,
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are quite confined at the moment to what people can do. And I was just wondering what you...
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How do you stay inspired, I suppose, when you're shooting from any locations?
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Yeah, I mean, it's true that you're always a bit more inspired when you travel
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because everything is new.
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But it's also, you know, people often get really scattered, too,
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when they're in a new location. It's a bit overwhelming.
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I spend a lot of my time in a little beach town in Normandy where there are,
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I don't know, just maybe 3,000, 4,000 people.
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And I go there in the winter months.
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And there's not a whole lot happening. You know, I'm not in big cities all the
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time, but I still photograph people even in the wintertime in a little beach town.
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There is always a moment that you haven't seen, an emotion.
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Just follow your heart. Just go out there open to anything that could happen.
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And yes, there are days where you'll just go out, come out, come back empty,
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but it shouldn't matter.
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You should enjoy the journey.
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And great if you have a finished if
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you have a keeper at the end of the day great if you don't it should not
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be a big deal it should not make you feel bad if you
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if you feel awful if you come home empty after a day of of walking the the streets
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of any city then you're probably not enjoying this you really it's it's really
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about the journey and the experience first and then And yes,
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the joy of capturing that decisive moment,
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that fraction of a second that's never happened and will never happen again,
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and the emotion or a beautiful light on a subject, whatever it is,
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yes, that's the cherry on the cake.
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But the journey is really what should make you happy.
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Because you do a lot of projects, don't you? I mean, just going through your web. I do.
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Just going through your... I mean, do you think that helps? I mean,
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I think, you know, with quite a lot of people, I suppose, quite a lot of photographers
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that I... Well, I suppose there's two kinds of genres.
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There's kind of, I suppose, within street photography, you've got the kind of
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street photography where we kind of do the projects, and there's street photographers
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who may just sort of focus on the one-off photographs rather than doing projects.
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Yeah, so I have different projects. I have series, and then I have projects.
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So I have series that have turned into books. Some are being turned into books.
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I had a series on dogs in the streets of the world that was a book several years ago.
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So those are series that I collect when I go out.
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I could have an interesting picture of a dog in the snow this afternoon, for example.
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So I keep collecting those. Once you have a book or an exhibit of a series,
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it kind of dies after that.
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I feel like, okay, maybe that was the end of that series.
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And then I have a series of state fair moments that I shoot several hours every year during an event.
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I have a series about car people that I photograph people in their cars,
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people in car shows. So those are series that I photograph once a year for a
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few hours, so they can last several years.
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And I have projects that are more documentary projects.
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I just finished One Century, which was a book and an exhibit,
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a big solo exhibit here in Minneapolis last November.
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Actually, it just ended this week.
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And that was a documentary about...
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People who are 100 years old or more, and the activities that bring them joy.
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I worked on the project for six months in between travels, during the little
00:18:43.317 --> 00:18:50.737
time I have in between travels, and collected over 20 stories of amazing centenarians.
00:18:51.077 --> 00:18:58.077
And so in six months, I had the project done. The exhibit was scheduled as I
00:18:58.077 --> 00:18:59.557
started the project, actually.
00:18:59.877 --> 00:19:04.237
I think I only had photographed two centenarians when the exhibit was scheduled.
00:19:04.457 --> 00:19:07.037
So the pressure was on to find more.
00:19:07.337 --> 00:19:12.877
And then it became a book kind of out of necessity because I had promised every
00:19:12.877 --> 00:19:16.937
centenarian and their family that I wouldn't give them a book of the project.
00:19:16.937 --> 00:19:20.357
So it's been a really popular book.
00:19:20.757 --> 00:19:29.717
And so that project is done. I may continue it, but again, I kind of get bored
00:19:29.717 --> 00:19:31.477
too easily with projects.
00:19:31.697 --> 00:19:37.197
And then again, when you have a project that turns into an exhibit and a book,
00:19:37.477 --> 00:19:39.437
then I want to do something else.
00:19:39.597 --> 00:19:45.697
And I just started a new project called One Love, featuring moments of daily
00:19:45.697 --> 00:19:48.697
life in the LGBTQ plus community.
00:19:48.897 --> 00:19:55.177
And I'm loving it. It's just such a such a fun project and an important one too.
00:19:55.357 --> 00:20:01.997
But for all these projects, I use my street photography skills a hundred percent.
00:20:02.237 --> 00:20:04.457
Nothing is posed, nothing is staged.
00:20:04.717 --> 00:20:09.257
I'm a fly on the wall for a few minutes in the life of someone.
00:20:09.677 --> 00:20:14.877
And so whether it was the centenarians who are still riding their bicycle or
00:20:14.877 --> 00:20:18.197
going to the pool every day, it was completely candid.
00:20:18.497 --> 00:20:24.177
Yes, once in a while they would want to pose with their World War II medals or something.
00:20:24.317 --> 00:20:28.037
So, of course, I did those portraits as well. But to me, the interesting part
00:20:28.037 --> 00:20:34.097
of the project is really capturing those candid moments and then offering those photos to the family.
00:20:34.257 --> 00:20:37.097
They don't have those pictures of their loved ones.
00:20:37.437 --> 00:20:46.797
The 107-year-old gentleman who reads the newspaper from A to Z every single day.
00:20:47.077 --> 00:20:52.537
And I captured this moment when he's just licking his finger as he's about to turn the page.
00:20:53.658 --> 00:20:58.638
The daughter of this gentleman said, oh, my gosh, those are pictures of my dad we never had.
00:20:58.778 --> 00:21:03.138
I mean, all they have really is the standard cheesy portrait or blowing their
00:21:03.138 --> 00:21:08.878
100-year-old, their 100 candles for their 100th birthday. And after that,
00:21:09.058 --> 00:21:10.438
you know, they really don't have any pictures.
00:21:10.618 --> 00:21:17.138
So giving those pictures to them or the 103-year-old who still drives a car
00:21:17.138 --> 00:21:21.078
and I photographed her behind the wheel and she was just like a little girl.
00:21:21.078 --> 00:21:24.338
She was so happy to show me she was still a very good driver.
00:21:24.578 --> 00:21:30.758
So all these moments were so special, but completely authentic and natural.
00:21:30.918 --> 00:21:32.818
I never said, oh, could you do this? Or could you do that?
00:21:33.038 --> 00:21:39.578
No, it was my job to handle the situation and do that dance that we do as street
00:21:39.578 --> 00:21:46.598
photographers, you know, to just to capture the strongest possible frame in such a short time.
00:21:46.738 --> 00:21:50.198
So it was really applying those same techniques. And it's the same thing I'm
00:21:50.198 --> 00:21:52.518
doing with the One Love Project.
00:21:52.998 --> 00:21:57.698
I'm meeting people in their homes for the most part or in their bedrooms and
00:21:57.698 --> 00:22:01.858
say, hey, what do you guys do for fun? When can I come when you're doing that activity?
00:22:02.038 --> 00:22:08.678
So maybe it's family game night or maybe it's doing homework or maybe it's playing music together.
00:22:08.958 --> 00:22:12.138
And so I never know. I never know what to expect.
00:22:12.138 --> 00:22:15.298
I shoot in ambient light only
00:22:15.298 --> 00:22:18.558
with my little X100 camera and the
00:22:18.558 --> 00:22:21.278
project is in black and white I love it
00:22:21.278 --> 00:22:25.298
when I have window light but you know I'm shooting in January it's dark at 4
00:22:25.298 --> 00:22:30.118
30 and I often meet people after work so I meet them in the evening I only have
00:22:30.118 --> 00:22:34.778
the little bit of light they have of lamps or whatever and I make it work the
00:22:34.778 --> 00:22:39.878
last the last photo shoot was all at 6400 ISO But it doesn't matter.
00:22:40.058 --> 00:22:45.518
It's not about the technical part. It's about the emotion.
00:22:45.938 --> 00:22:49.818
And so I'm really having fun with this new project, and I'm hoping to carry
00:22:49.818 --> 00:22:51.898
it to other countries as I'm traveling as well.
00:22:52.078 --> 00:22:57.058
It can be a little bit easier to find than centenarians, but they're busier people too.
00:22:57.258 --> 00:23:04.078
So the community is very sharing, and they love participating in this project,
00:23:04.258 --> 00:23:06.778
but they have busy lives.
00:23:06.778 --> 00:23:15.718
Whereas the centenarians, once I had one in contact, then it was easier to schedule
00:23:15.718 --> 00:23:19.858
the time I spent with them because they're not moving as much.
00:23:20.658 --> 00:23:24.858
Going back to the centenarians, that must have been an incredible project to
00:23:24.858 --> 00:23:26.878
actually spend time with those people.
00:23:27.218 --> 00:23:36.138
I suppose the life lessons that they've learned themselves, that's mind-blowing.
00:23:36.778 --> 00:23:39.798
And I've made so many amazing friends. I mean, several of them have passed away
00:23:39.798 --> 00:23:41.278
since I photographed them, of course.
00:23:41.418 --> 00:23:45.658
I mean, I started over a year ago, but I'm still in contact.
00:23:45.858 --> 00:23:49.198
I mean, this gentleman, one of my favorite was 107.
00:23:49.738 --> 00:23:52.118
And at 107, he made the trip.
00:23:53.029 --> 00:24:03.489
From the U.S., from the Midwest, to Paris to be at the Normandy 80th anniversary of D-Day.
00:24:04.009 --> 00:24:10.309
And he was there for 10 days. And then talking to him after and telling me that
00:24:10.309 --> 00:24:15.149
it was the trip of a lifetime and how happy he was to have been able to do that.
00:24:15.409 --> 00:24:20.449
And, I mean, it's so amazing, let alone for an older person to travel.
00:24:20.449 --> 00:24:26.409
But 107 to travel overseas and have activities every day.
00:24:26.529 --> 00:24:31.109
And I saw him on the news and it was just pretty amazing.
00:24:31.329 --> 00:24:35.189
So yeah, wonderful people, so many stories, so many stories.
00:24:35.389 --> 00:24:41.329
And the goal was to only share about a paragraph or two because it wasn't so
00:24:41.329 --> 00:24:45.069
much about them in the past, it was them now.
00:24:45.269 --> 00:24:49.949
And that was, I think that project got a lot of attention because it was unique in that way.
00:24:50.109 --> 00:24:55.049
Usually when somebody writes an article about somebody who just turns 100,
00:24:55.389 --> 00:24:56.569
they talk about their past.
00:24:56.729 --> 00:24:59.489
Whereas this project was about them now.
00:24:59.709 --> 00:25:04.329
What activity are they doing now that is keeping them happy?
00:25:04.569 --> 00:25:09.009
And so it made the project harder for me because a lot of centenarians don't
00:25:09.009 --> 00:25:09.829
really have activities.
00:25:09.989 --> 00:25:16.349
They just sit there. So for me, I only photograph centenarians who are still active.
00:25:17.049 --> 00:25:21.429
And so, but I didn't, I couldn't imagine that they would be swimming an hour
00:25:21.429 --> 00:25:26.569
every day or riding their bikes every day or, or right, or still driving a car.
00:25:26.829 --> 00:25:29.669
So it was pretty amazing. Yes.
00:25:30.149 --> 00:25:32.349
Really, really special project.
00:25:33.278 --> 00:25:36.398
I mean, how did you make contact with him? How did you get the trust?
00:25:36.598 --> 00:25:39.658
I mean, there's obviously a massive trust element from, you know,
00:25:39.738 --> 00:25:41.798
from, you know, if you advertise and whatever.
00:25:41.998 --> 00:25:44.698
I mean, did you have to get their family's permission or?
00:25:45.458 --> 00:25:49.358
Yeah, so finding them was the difficult part because I really focused on this
00:25:49.358 --> 00:25:52.018
project during the winter month when I wasn't traveling as much.
00:25:52.178 --> 00:25:56.178
And it was really focusing the project in Minnesota and, you know,
00:25:56.298 --> 00:25:58.318
Wisconsin, the neighboring states.
00:25:58.518 --> 00:26:03.218
But so the research was huge. It was hours and hours of research,
00:26:03.218 --> 00:26:05.018
usually, to find just one.
00:26:05.558 --> 00:26:09.198
And then trying to find—sometimes I could contact them directly.
00:26:09.598 --> 00:26:15.118
Most of them still live in their own homes. And so—or I would find an article
00:26:15.118 --> 00:26:20.558
about—usually, centenarians, there is always an article about their 100th birthday, right?
00:26:20.798 --> 00:26:25.598
You know, in any small town, big town, villages, whatever, there is always a
00:26:25.598 --> 00:26:28.178
newspaper article. Oh, so-and-so turned 100.
00:26:28.618 --> 00:26:33.558
So, but then, you know, if the article is six months old, doesn't mean they're still there.
00:26:33.758 --> 00:26:38.938
So you really tried in carefully and then trying to contact sometime whoever
00:26:38.938 --> 00:26:41.678
wrote the article and said, hey, I'm working on this project.
00:26:41.798 --> 00:26:44.478
Here's my work. So they'd see the work. So they saw that it was legit.
00:26:44.818 --> 00:26:49.258
And then could you put me in contact with the family? Just forward my email.
00:26:49.618 --> 00:26:51.938
And so I worked like that a lot.
00:26:53.018 --> 00:26:58.578
And then you'd think they all know each other. But no. So I thought it would
00:26:58.578 --> 00:27:00.178
have the snowballing effect, right?
00:27:00.938 --> 00:27:05.338
But no, they don't know each other. And so it was really difficult.
00:27:05.638 --> 00:27:09.478
And all of them, you know, are quite independent.
00:27:09.998 --> 00:27:11.898
Most of them still live in their own homes.
00:27:12.518 --> 00:27:16.278
And so then once I was in contact with them, you know, they have cell phones.
00:27:16.418 --> 00:27:20.078
And I mean, they had a better, some of them had a better version of the iPhone than I did.
00:27:20.238 --> 00:27:26.198
And so I would just contact them directly, usually phone, sometimes text.
00:27:26.198 --> 00:27:28.418
But I think they liked the phone calls better.
00:27:28.978 --> 00:27:32.018
And then we'd just make a plan and say, hey, when can I come?
00:27:32.098 --> 00:27:34.538
What do you do? But I was always respectful.
00:27:34.718 --> 00:27:37.118
I'm like, well, maybe they take a little nap in the afternoon.
00:27:37.238 --> 00:27:42.678
So I don't want to change their routine. It was really capturing an everyday moment.
00:27:42.918 --> 00:27:46.718
So they all loved it. Several, however,
00:27:47.378 --> 00:27:52.778
interestingly, several of, I probably could have photographed six or seven more,
00:27:53.398 --> 00:27:59.518
but they're the family was kind of like they were kind of the gatekeepers where
00:27:59.518 --> 00:28:03.578
the family said oh no I don't think it's a good idea which actually I think
00:28:03.578 --> 00:28:07.018
it's a bit abusive in a way because why can't they,
00:28:07.838 --> 00:28:11.378
let them make their own decisions you know so they would actually not even let
00:28:11.378 --> 00:28:18.358
their loved one 100 year old father or grandfather whoever know about it they
00:28:18.358 --> 00:28:20.378
would just say oh no I don't think it's a good idea.
00:28:21.494 --> 00:28:25.794
Where, why? You know, can't they make their own decision?
00:28:25.974 --> 00:28:30.834
They all signed a release. It was never a problem. I always ask them to sign
00:28:30.834 --> 00:28:34.714
or release something I would never do, of course, when I do my street photography.
00:28:34.894 --> 00:28:40.254
But yeah, because it's a project and I knew there would be an exhibit and a book.
00:28:40.634 --> 00:28:44.694
And I wanted them to be completely aware of that.
00:28:44.834 --> 00:28:48.474
So you'll get the pictures, but you'll also be on Instagram.
00:28:48.474 --> 00:28:51.474
And I just want this to be completely clear.
00:28:51.694 --> 00:28:56.914
And they were all so happy to sign the release, said yes, and let me know in their articles.
00:28:56.914 --> 00:29:02.414
I was interviewed for a really well-known radio station, and they were all so
00:29:02.414 --> 00:29:07.174
happy when they heard me mentioning them in that interview.
00:29:07.254 --> 00:29:14.874
And so it was difficult to find them, but the experience was always very, very positive.
00:29:15.174 --> 00:29:17.914
They were thrilled so many times. They said, can you come and visit again?
00:29:17.914 --> 00:29:23.834
And several of them I visited again, just for fun, because some of them are quite lonely.
00:29:24.194 --> 00:29:29.814
And they made a new friend, and they were so happy to be in the spotlight, if I may.
00:29:30.074 --> 00:29:33.034
Although I didn't bring lights, but they were in the spotlight nonetheless.
00:29:35.034 --> 00:29:39.814
That's amazing. What was their reaction when they saw the photos?
00:29:39.994 --> 00:29:41.894
When you actually presented the photos and the book to them?
00:29:42.334 --> 00:29:46.454
Well, it's funny because it's always the same, right? Like the men were already
00:29:46.454 --> 00:29:49.594
so, and I think I photographed more men than women, surprisingly.
00:29:49.874 --> 00:29:53.514
There are a lot fewer men over 100 than there are women.
00:29:53.674 --> 00:29:57.114
But the men were already so proud and wanting to talk about the World War II
00:29:57.114 --> 00:29:58.474
experience and everything.
00:29:58.654 --> 00:30:02.214
And knowing I was from Normandy and they were like, oh, so, you know,
00:30:02.354 --> 00:30:05.714
a lot of them were at Omaha Beach on June 6th.
00:30:05.714 --> 00:30:11.114
So they really felt that connection, and they loved the pictures because they
00:30:11.114 --> 00:30:19.274
always wanted to show either a picture of themselves in the 30s or 40s in their uniform.
00:30:19.614 --> 00:30:23.014
And so, but the women, however,
00:30:24.069 --> 00:30:28.969
would always be kind of critical. It's like, oh, that's not my best side or
00:30:28.969 --> 00:30:30.789
this or that. It was so funny.
00:30:31.029 --> 00:30:39.089
Yeah. And actually, a few of them came to the exhibit opening and all I was
00:30:39.089 --> 00:30:40.869
missing was the red carpet.
00:30:41.369 --> 00:30:46.469
They stayed for a good two hours talking with each other. They didn't know each
00:30:46.469 --> 00:30:48.809
other. So I think four or five came to the exhibit.
00:30:49.129 --> 00:30:53.629
Five, I think, came to the exhibit opening and they didn't know each other,
00:30:53.669 --> 00:30:56.429
but then they were right away like schoolchildren,
00:30:56.729 --> 00:31:01.149
just giggling and looking at each other's pictures and signing their chapter
00:31:01.149 --> 00:31:04.449
in the book for people, for the visitors.
00:31:04.449 --> 00:31:08.629
There were so many people and they were having the time of their lives.
00:31:08.829 --> 00:31:15.969
They were posing in front of the section of the exhibit where they were featured and sharing notes.
00:31:16.209 --> 00:31:24.969
Like one gentleman who was at the exhibit had actually went to Normandy a few days after D-Day.
00:31:25.469 --> 00:31:31.069
And one of the women was a code breaker and was working in Washington,
00:31:31.229 --> 00:31:33.369
D.C., trying to break German codes.
00:31:33.669 --> 00:31:37.389
And so they were comparing notes and sharing their experience.
00:31:37.589 --> 00:31:42.489
It was so heartwarming. That was probably the best part of the whole thing,
00:31:42.749 --> 00:31:48.109
is to bring them together and see them.
00:31:48.309 --> 00:31:52.909
I get goosebumps talking about it because it was such a moving experience.
00:31:53.209 --> 00:31:57.509
And people saw this exhibit for almost two months.
00:31:57.769 --> 00:32:03.149
And yeah, it's been the gallery. I was just at the gallery the other day after they took it down.
00:32:03.329 --> 00:32:06.589
And they said up to the last day. people heard
00:32:06.589 --> 00:32:10.329
about it on the radio and they were so moved by by
00:32:10.329 --> 00:32:13.889
the story so we have the visual stories and we we we
00:32:13.889 --> 00:32:19.909
printed five photograph per centenarian we only had room for 12 out of the 20
00:32:19.909 --> 00:32:24.669
but so five photograph per centenarian and then a little paragraph about the
00:32:24.669 --> 00:32:29.789
story like i have in the book and so it was people love looking at the pictures
00:32:29.789 --> 00:32:31.649
and then reading the story because it was short.
00:32:31.929 --> 00:32:35.449
When you have too much to read in an exhibit, you don't take the time.
00:32:35.589 --> 00:32:39.769
But here it was just two, three paragraphs and it was really easy for people
00:32:39.769 --> 00:32:43.889
to really spend the time to read each one and really look at the pictures.
00:32:44.609 --> 00:32:47.349
So, yeah. Sorry I could talk about this for hours, you know.
00:32:48.240 --> 00:32:51.580
I mean, that is the true power of photography, isn't it? We've just described it.
00:32:51.660 --> 00:32:57.060
You've just captured those moments, captured the stories, and then bringing everybody together.
00:32:57.320 --> 00:33:00.400
I mean, that just gives me goosebumps listening to that as well.
00:33:01.080 --> 00:33:04.540
Yeah, the families. I mean, I still get notes from the family and pictures,
00:33:04.780 --> 00:33:06.540
the families, and some pictures too.
00:33:06.680 --> 00:33:09.640
And they said, that was the best thing ever.
00:33:09.800 --> 00:33:13.520
I don't remember seeing my mom or my grandma so happy.
00:33:13.880 --> 00:33:16.960
And really, they were like movie stars for an evening.
00:33:17.140 --> 00:33:21.420
It was great. the funniest part for me is that people were asking them to sign
00:33:21.420 --> 00:33:23.900
their chapter in my book.
00:33:26.120 --> 00:33:29.700
People asked me to sign the book too, but they were signing their own chapter
00:33:29.700 --> 00:33:33.080
and I thought that was just so funny. That's wonderful.
00:33:34.460 --> 00:33:39.800
So the One Love project you're doing now, how's that going for you?
00:33:40.240 --> 00:33:47.700
It's going well. Well, during Christmas, New Year's, it seems like it's really hard to find people.
00:33:47.980 --> 00:33:51.420
Well, people are there. They just don't have time. There's so much happening.
00:33:51.640 --> 00:33:53.660
So kind of put it on hold for a few weeks.
00:33:54.000 --> 00:33:57.700
And now I just had to shoot this week. I have another one this weekend.
00:33:57.940 --> 00:34:01.560
And so I think it's just going to snowball from there.
00:34:02.040 --> 00:34:06.720
People are really interested in participating in this project.
00:34:06.720 --> 00:34:17.520
And it's, yeah, I think it's a really important project to bring this community to life and to light,
00:34:17.780 --> 00:34:23.640
I should say, and in the most normal and authentic way, because it is so normal and authentic.
00:34:24.020 --> 00:34:27.200
And so it's been well received so far.
00:34:27.340 --> 00:34:31.800
People have been really moved by this project. So it's a little more challenging
00:34:31.800 --> 00:34:38.580
than I thought because of the, you know, the meeting people later.
00:34:38.800 --> 00:34:45.460
And I keep, I'm very, when I do a project, I said, okay, it's going to be the way I do my thing.
00:34:45.800 --> 00:34:49.860
No, no setup, no light, whatever is there.
00:34:50.020 --> 00:34:53.260
And I never know. It's not like I scout the location. I don't know.
00:34:53.260 --> 00:34:59.820
I mean, I just met this lovely young couple and I met them in their bedroom
00:34:59.820 --> 00:35:04.640
and they were playing a game of Scrabble on their little table.
00:35:04.840 --> 00:35:07.240
It was really dark. Their bedroom is in a basement.
00:35:07.560 --> 00:35:10.420
And so there was no light.
00:35:11.340 --> 00:35:17.100
So you're working in an ambient light from, at least I'm working in black and
00:35:17.100 --> 00:35:21.180
white. So the white balance is not an issue, but then it doesn't give you that
00:35:21.180 --> 00:35:25.220
beautiful window light that you can have. And so it's a bit harsher.
00:35:25.740 --> 00:35:30.300
And so, yeah, the quality of the picture suffers, but I don't care.
00:35:30.440 --> 00:35:31.900
It's a personal project.
00:35:33.099 --> 00:35:37.479
It may be a book someday, may never be a book. I don't care. It's really for me.
00:35:37.839 --> 00:35:43.279
And it's really to feed my artist's soul and then sharing with them.
00:35:43.379 --> 00:35:46.499
That's really the only goal of those projects that I do.
00:35:47.079 --> 00:35:52.759
They're always self-funded and I'm just doing it from the heart.
00:35:52.759 --> 00:35:57.859
And so it doesn't matter what, as long as I have at least two or three pictures
00:35:57.859 --> 00:36:01.579
to give them that they will cherish forever, that's the goal.
00:36:01.879 --> 00:36:06.399
And then after that, it really doesn't matter. I, I put them in a gallery on the website.
00:36:06.479 --> 00:36:11.799
I share them on Instagram and, and then we'll see where, where this project
00:36:11.799 --> 00:36:14.199
goes. It may last more than a year. Who knows?
00:36:14.819 --> 00:36:16.839
Have you got many more projects? I mean, you don't have to say what you,
00:36:16.919 --> 00:36:20.119
you know, if you've got many more projects lined up for this year or,
00:36:20.439 --> 00:36:22.579
I mean, teaching workshops.
00:36:22.759 --> 00:36:25.419
Okay that's fair enough so you're
00:36:25.419 --> 00:36:29.139
traveling a lot you're traveling a lot with this year anyway for teaching the workshops yeah
00:36:29.139 --> 00:36:32.039
so start the year every year for the
00:36:32.039 --> 00:36:36.559
past 12 years with paris weekend workshop in paris in january it's one of my
00:36:36.559 --> 00:36:43.899
favorite so i'm off soon and then mexico city at the end of february i live
00:36:43.899 --> 00:36:48.879
in a really really cold climate so it's always a good idea to teach in a warm
00:36:48.879 --> 00:36:50.739
place in the winter months.
00:36:50.739 --> 00:36:53.099
So Mexico City, it's a five, six day workshop.
00:36:53.539 --> 00:37:00.939
Then Seville at the end of March in Spain. And then they have Seattle, Minneapolis.
00:37:01.639 --> 00:37:05.499
No New York this year. It's the first time probably in 10 years that I haven't taught,
00:37:06.119 --> 00:37:09.139
I'm not teaching in New York. Then I do the Normandy Workshop,
00:37:09.399 --> 00:37:15.779
which is one of my most popular workshops, but it's the only one that's all-inclusive.
00:37:16.039 --> 00:37:18.559
People stay in a five-star beachfront hotel.
00:37:18.859 --> 00:37:25.619
They get picked up in Paris by a private chauffeur, and the chauffeur stays
00:37:25.619 --> 00:37:28.319
with us all week, and we go on adventures every day.
00:37:28.579 --> 00:37:31.119
And it's home. It's such a beautiful setting.
00:37:31.419 --> 00:37:35.419
People actually come on it more than once. They love it so much.
00:37:35.419 --> 00:37:40.699
They don't want it to end so that's in september and then and then paris again
00:37:40.699 --> 00:37:44.619
usually in the fall but this year i'll be in london in in october i'm teaching
00:37:44.619 --> 00:37:47.019
finally teaching another london workshop,
00:37:47.679 --> 00:37:51.479
towards the end of october so i'm really excited i love london i've traveled
00:37:51.479 --> 00:37:54.699
to london quite a lot myself because i'm obviously living in iron and so i used
00:37:54.699 --> 00:37:58.979
to do like day trips to day trips to london and it's a great place to shoot
00:37:58.979 --> 00:38:02.799
because i mean you've got yeah the variety is out there oh,
00:38:03.619 --> 00:38:06.719
Yeah, I was there last time, it was 2020, actually.
00:38:06.719 --> 00:38:09.179
I was there for the launch of the X100V.
00:38:09.419 --> 00:38:15.639
I was the Pugifilm official ex-photographer invited for the launch,
00:38:15.659 --> 00:38:18.079
and it was February 2020.
00:38:18.519 --> 00:38:23.359
So, yeah, people were wearing masks at the airport, and I'm like,
00:38:23.399 --> 00:38:25.079
hmm, maybe there is something coming.
00:38:25.979 --> 00:38:30.439
Yeah, it didn't take too long, right, for the lockdown. And so I was there and
00:38:30.439 --> 00:38:34.659
it had been a while since I had been to London and it had changed so much.
00:38:34.779 --> 00:38:39.339
And I was going to teach that year, but then lockdown happened. So that got canceled.
00:38:39.359 --> 00:38:43.639
So I'm excited to go there again this October. Yeah.
00:38:45.579 --> 00:38:50.839
I suppose you've got a lot of people who are kind of coming into the photography industry now.
00:38:51.759 --> 00:38:59.019
And what advice would you give someone who's starting out and trying to stand
00:38:59.019 --> 00:39:04.979
out from the rest of people, especially in today's markets such as social media, etc.
00:39:05.719 --> 00:39:08.899
Going on? Oh, it's so hard.
00:39:09.279 --> 00:39:17.879
I mean, we're in the best time because it really doesn't cost anything to show your work.
00:39:17.879 --> 00:39:23.739
But we're also in the most difficult time to stand out because the market is
00:39:23.739 --> 00:39:25.059
flooded with photographers.
00:39:25.059 --> 00:39:33.999
So really, just if you if you are a well, I imagine a lot of street photographers
00:39:33.999 --> 00:39:35.619
will be listening to this.
00:39:35.759 --> 00:39:38.359
So if you're a street photographer, you're doing it for yourself.
00:39:38.359 --> 00:39:44.039
So you only you're the only person you need to please with your photography.
00:39:44.039 --> 00:39:45.359
You're not shooting for a client.
00:39:45.599 --> 00:39:53.679
So what does it matter who sees it or not? I know everyone wants an audience
00:39:53.679 --> 00:39:56.479
and wants some accolades.
00:39:57.259 --> 00:40:01.799
And of course, yes, every artist is a bit fragile somewhere.
00:40:01.979 --> 00:40:05.179
And you need that little ego boost once in a while. But really,
00:40:05.259 --> 00:40:07.939
when it comes down to it, you're really doing this for you.
00:40:08.179 --> 00:40:11.579
And so just do whatever makes you happy.
00:40:12.099 --> 00:40:16.399
And again, it's really the journey that should make you happy.
00:40:16.399 --> 00:40:19.659
Showing your work is is is optional
00:40:19.659 --> 00:40:22.659
i mean it's nice because nobody sees your work then
00:40:22.659 --> 00:40:25.999
it's a little sad but you're really doing this for
00:40:25.999 --> 00:40:29.079
yourself so just follow your heart don't try to
00:40:29.079 --> 00:40:32.239
don't try to do what you think people
00:40:32.239 --> 00:40:37.799
want to see that's a really bad way to approach it and a lot of people do that
00:40:37.799 --> 00:40:44.399
because a lot of people shoot for the likes and once you get over that that's
00:40:44.399 --> 00:40:50.319
when you find that peace and freedom and that creative freedom to really share
00:40:50.319 --> 00:40:52.059
whatever makes you happy,
00:40:52.319 --> 00:40:59.479
no matter what people will, no matter what the reaction will be of your audience on social media.
00:40:59.639 --> 00:41:05.619
And it should not matter at all. I find that people are usually kind anyways.
00:41:06.299 --> 00:41:09.279
It wasn't already so. Well, I left Facebook a
00:41:09.279 --> 00:41:12.559
long time ago because I did not like the Facebook audience
00:41:12.559 --> 00:41:15.619
particularly but i find that on instagram it's
00:41:15.619 --> 00:41:18.459
been it's been a better experience things are
00:41:18.459 --> 00:41:21.799
changing all the time but you don't don't
00:41:21.799 --> 00:41:25.359
worry too much about visibility or or posting
00:41:25.359 --> 00:41:30.399
for likes just really post for you it's uh it's it's a home for your pictures
00:41:30.399 --> 00:41:35.519
if you keep them on your hard drive then nobody sees them so look at it as as
00:41:35.519 --> 00:41:42.499
a way to share them and and that's it just do it for the love of the art, first of all.
00:41:43.389 --> 00:41:48.469
Yeah, I suppose it's getting over that kind of initial boundary,
00:41:48.649 --> 00:41:50.469
isn't it, around the likes.
00:41:50.889 --> 00:41:55.309
Oh, absolutely. And I mean, now we're going to be dealing, not only we're dealing,
00:41:55.549 --> 00:42:01.129
we have people that do street photography, but not in a candid way.
00:42:01.389 --> 00:42:07.289
And that's kind of, you know, deceiving because it's not the way it's supposed
00:42:07.289 --> 00:42:15.229
to be. And so it's giving unrealistic expectations to people who are starting.
00:42:15.669 --> 00:42:19.129
And also now we have AI to think about.
00:42:19.469 --> 00:42:22.689
And so, yeah, just do it because you love doing it.
00:42:22.889 --> 00:42:30.769
And I think there are always going to be people who are in photography for the
00:42:30.769 --> 00:42:34.349
art and the authenticity, not for the gear, not for the technology.
00:42:34.389 --> 00:42:38.509
I sure could care less about the gear. I've been shooting with the same camera
00:42:38.509 --> 00:42:43.729
for over 10 years now, a new edition of it, but it's still the same camera when
00:42:43.729 --> 00:42:45.709
I could be shooting with pretty much anything I want.
00:42:45.849 --> 00:42:49.609
So for me, I'm in photography for the art of it.
00:42:49.849 --> 00:42:53.849
A lot of people get into photography for the gear, and that's all right.
00:42:54.049 --> 00:42:59.129
But ultimately, there's no bad camera out there, just bad photographers.
00:42:59.129 --> 00:43:04.689
So just focus on doing what you love, experience, education,
00:43:04.689 --> 00:43:07.049
and then work with what you have, really.
00:43:08.149 --> 00:43:10.769
I mean, do you think street photography has evolved? I mean,
00:43:10.849 --> 00:43:14.289
from when it was, I suppose, you know, how it was, say, I don't know,
00:43:14.389 --> 00:43:17.229
20, 30, 40 years ago to what it is today.
00:43:17.369 --> 00:43:20.149
Do you think there's different definitions of street photography now?
00:43:21.589 --> 00:43:28.349
Well, I don't know. I mean, ultimately, it is capturing moments of everyday life.
00:43:29.049 --> 00:43:36.029
In its purest form. Now, of course, people do, there are so many ways to approach it.
00:43:36.109 --> 00:43:41.349
And I teach all of them because I do shoot minimalist. I do love to shoot just
00:43:41.349 --> 00:43:46.569
silhouettes, but I love to get really close and get those intimate moments.
00:43:46.729 --> 00:43:51.209
So because I love to shoot all aspects of street photography,
00:43:51.589 --> 00:43:54.529
I can teach all aspects of it.
00:43:55.169 --> 00:43:59.489
And that's necessary for someone to really find what they love to do.
00:43:59.669 --> 00:44:05.389
You should not shoot what you think people will like. You should shoot what makes you happy.
00:44:05.649 --> 00:44:10.009
So by trying different types of street photography,
00:44:10.289 --> 00:44:16.329
whether it's more anonymous where you don't reveal the identity of the strangers,
00:44:16.329 --> 00:44:22.029
or it's very minimalist when it's really more about the urban landscape and
00:44:22.029 --> 00:44:26.369
then the human element in that landscape, or it's about light and shadows.
00:44:27.167 --> 00:44:32.007
There is a way that will fit you, that will fit your style, at least to get started.
00:44:33.307 --> 00:44:37.927
Then you should grow. I don't think you should be stuck in one way of shooting straight.
00:44:38.027 --> 00:44:42.267
It gets really repetitive, not only for the viewer, because you always see the
00:44:42.267 --> 00:44:44.767
same, another silhouette, another silhouette, another silhouette.
00:44:44.987 --> 00:44:48.027
It gets repetitive for the viewer, but for the photographer,
00:44:48.027 --> 00:44:50.547
it's so predictable at that point.
00:44:51.227 --> 00:44:56.827
To me, that would be so boring. I couldn't do that. That's why my work jumps according to my mood.
00:44:57.007 --> 00:45:01.487
And so some days I want to be much more minimalist and not get close to people.
00:45:01.587 --> 00:45:06.567
Other days I want to get really close, but not in their face,
00:45:06.627 --> 00:45:11.267
but close and get those intimate moments or find some interesting hands where
00:45:11.267 --> 00:45:18.327
I just zero in on those hands within a few inches of them in a market or something.
00:45:18.467 --> 00:45:22.287
So really finding whatever moves me that day.
00:45:22.567 --> 00:45:28.447
So staying open and open to trying new things. And when I teach, I love movement.
00:45:29.067 --> 00:45:34.627
ICM, intentional camera movement in street photography is extremely difficult.
00:45:35.427 --> 00:45:38.967
Some people think it's gimmicky, but no, it is a huge challenge.
00:45:39.167 --> 00:45:44.127
I love teaching that. It's visual poetry and it's so much fun.
00:45:44.267 --> 00:45:48.587
So really mixing it up, I think is important. I wouldn't want to be doing just
00:45:48.587 --> 00:45:50.687
one thing that would bore me.
00:45:53.211 --> 00:46:00.251
And I love being able to present and help my students try new things.
00:46:00.711 --> 00:46:07.111
I mean, creativity starts, I always tell them, creativity only starts outside your comfort zone.
00:46:07.371 --> 00:46:15.351
So it's really opening new horizon, if I may say so, and opening new ways of
00:46:15.351 --> 00:46:20.291
seeing when they come and learn with me, whether it's a weekend or week.
00:46:20.291 --> 00:46:24.731
And the camaraderie and everything really is, it's just a whole package.
00:46:24.971 --> 00:46:32.891
And so, but I also teach online and I'm amazed how well people are doing during
00:46:32.891 --> 00:46:35.871
my online, their five-month classes with assignments.
00:46:36.271 --> 00:46:41.611
And, you know, I'm not there on the streets with them to just demonstrate or
00:46:41.611 --> 00:46:47.731
lead them, but I'm impressed how willing people are trying to try new,
00:46:47.771 --> 00:46:50.311
new things. And it's, wonderful.
00:46:50.691 --> 00:46:56.471
I'm blown away by the progress I see during those online masterclasses.
00:46:56.671 --> 00:47:01.231
And then I offer webinars too, which are one-off and people can watch one,
00:47:01.311 --> 00:47:02.791
but they're always educational.
00:47:02.811 --> 00:47:05.111
It's not just like, oh, look at pretty pictures of Paris.
00:47:05.391 --> 00:47:08.891
Every time I present something, I have to teach.
00:47:09.111 --> 00:47:17.451
That's in me. So I give the creative vision behind the shot and how I approach it and And why?
00:47:17.611 --> 00:47:22.011
Why that way, not this way? So people kind of enjoy that way of teaching as well.
00:47:22.331 --> 00:47:26.451
And so I tried to offer this to as many people.
00:47:26.631 --> 00:47:31.251
Not everyone can go on a trip to Paris or Seville or wherever.
00:47:31.651 --> 00:47:37.191
And so I tried to also write books that are very simple, but they're a creative
00:47:37.191 --> 00:47:39.791
vision behind the lens series where I...
00:47:40.725 --> 00:47:49.905
I share a few paragraphs about the way I approach one shot, and it is a way of teaching as well.
00:47:50.085 --> 00:47:54.285
So it's trying to reach as many people who I may never meet,
00:47:54.465 --> 00:47:59.205
but who end up falling in love with the genre of photography,
00:47:59.345 --> 00:48:02.225
which is so beautiful and so important.
00:48:02.245 --> 00:48:06.385
But it's also really important to do it right and respectfully.
00:48:06.385 --> 00:48:11.145
So that's also my goal, to teach it in the way it should be done.
00:48:12.405 --> 00:48:15.925
Yeah. I suppose we've all got favorite photographs and stories.
00:48:16.105 --> 00:48:18.985
We can think of individuals we've taken over the last few years.
00:48:19.145 --> 00:48:22.485
And do you have any sort of favorite photographs or stories that you've taken
00:48:22.485 --> 00:48:23.705
in the last few years yourself?
00:48:24.145 --> 00:48:30.145
Yeah, I think every year I would say there's one or two pictures that really
00:48:30.145 --> 00:48:37.685
stand out. And surprisingly, at the end of the year, everybody does their top nine or whatever.
00:48:37.985 --> 00:48:43.945
And I don't do that, but I check just to see what would be the top nine.
00:48:44.125 --> 00:48:48.285
And I don't think any of them were my top nine, my personal favorites.
00:48:48.605 --> 00:48:54.425
So it's quite predictable what people are going to like or not like.
00:48:54.825 --> 00:48:59.485
And I don't care. I don't shoot for likes. But it's always very predictable.
00:48:59.485 --> 00:49:04.745
And usually what people like are not the shots that have the most merit.
00:49:05.745 --> 00:49:13.205
And usually as a photographer, you're more attached to shots that you know where you,
00:49:13.746 --> 00:49:16.446
were either a once in a
00:49:16.446 --> 00:49:19.626
lifetime or that really that you're
00:49:19.626 --> 00:49:22.926
so proud because you captured that decisive moment
00:49:22.926 --> 00:49:28.406
in one shot and you got it and and so but it's not necessarily the ones that
00:49:28.406 --> 00:49:33.106
people will respond to so yeah every year there and actually i should print
00:49:33.106 --> 00:49:37.346
more i attend to print just for exhibits but i should print more for myself
00:49:37.346 --> 00:49:41.626
because i think it's it for people who shoot a lot, like me,
00:49:41.906 --> 00:49:47.146
you know, we shoot almost every day, to print maybe one print a month.
00:49:47.426 --> 00:49:51.666
It's not going to be a great picture every month. That's unrealistic in street photography.
00:49:51.886 --> 00:49:58.506
But print one picture a month just to have that print in your hands,
00:49:58.506 --> 00:50:01.886
I think, would be a good thing to do. I don't print myself.
00:50:02.066 --> 00:50:04.246
I don't have time. I'm not really interested.
00:50:04.686 --> 00:50:09.006
I'm not really interested in any of the technical part of photography and so
00:50:09.006 --> 00:50:11.206
printing is the same thing.
00:50:11.386 --> 00:50:15.266
There are people who they could do it a lot better than I can and for a lot
00:50:15.266 --> 00:50:16.886
cheaper than I could probably too.
00:50:17.126 --> 00:50:24.006
And so I don't print myself, but I think it's still, it would still be a good
00:50:24.006 --> 00:50:25.766
idea to print at least once a month.
00:50:26.646 --> 00:50:30.386
Radhami, listen, thanks so much, I'm really pleased with all the time you've given.
00:50:31.326 --> 00:50:35.446
And just wish you all the best of luck for the for this year and for the and
00:50:35.446 --> 00:50:40.766
for the workshops thank you i'm always uh always looking forward to seeing new
00:50:40.766 --> 00:50:45.906
places and meeting new people so it's it's all good so i think it's 20 2020
00:50:45.906 --> 00:50:47.986
when we did the instagram live interview,
00:50:48.566 --> 00:50:54.326
was it that long ago yeah yeah it was a long time ago yeah wow so um it's been
00:50:54.326 --> 00:50:57.386
great to catch up as well i mean you can't believe that more five or not four
00:50:57.386 --> 00:50:59.606
years has gone by so quickly yeah Yep.
00:51:00.206 --> 00:51:05.566
It's flown by, isn't it? Well, thank you. And then good luck with the podcast. Thanks so much indeed.
00:51:06.126 --> 00:51:08.686
Thank you. All right, take care. Bye-bye. Bye-bye.