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Douglas Kirkland is one of the most accomplished and celebrated photographers of the last fifty years. This installment of the Creative Inspirations series offers insight into Douglas Kirkland's photography, from his early career at Look magazine during the golden age of photojournalism in the 60s and 70s to his transition from analog to digital photography in the 90s. His iconic images of Marilyn Monroe, Elizabeth Taylor, Jack Nicholson, and Nicole Kidman, among others, are known all over the world. This series of videos includes a peek into Douglas's work, his studio, and some of his on-location photo shoots. Also view a presentation showcasing his body of work, a discussion with a group of high school photography students, an interview with Douglas and Lynda, and more.
(Music playing.) Douglas Kirkland: This camera is an old friend of mine. I've had it many years. That makes a picture 8x10 inches, quite large. That's the size of the negative or chrome that we make. What is the result of that? We get enormous clarity, even probably sharper than we get with the latest digital cameras. I have a special passionate spot in my heart for the digital cameras. But there is a tradition here and a different look. One thing, we have these swings and tilts, very important to anyone photographing architecture, because you can make the lines perfectly straight, something that architects really like, prefer, and in many cases insist upon.
So that's one of the reasons this has traditionally been a camera for this sort of work. Now how did I pick this location and why? Well to begin with, Steven is a very close friend and a brilliant architect, internationally known, and we're in his home that he built for himself or had built three years -- it was finished about three years ago. You have this wonderful stairway with an opening and it's got this great look to it, and it's quite wonderful. I'm just going to quickly show you what I've got in a digital image, just so you can see, there it is.
So I used this almost like a Polaroid. We don't shoot Polaroid so much anymore, but I'm going to hold this as steady as I can and you get a look at -- that was how I got the idea of using the stairway. It's an element of design. And Steven is a great designer, so I want to emphasize design. There's so much in his home. It's open. It's the best of California architecture. That's why I'm happy to be here. This is our series of artists. Steven is not just an architect, he's a great artist. That's why we are here today and why we are shooting both with the 8x10 as well as the digital.
Look at how beautiful you are, Steven. Now you'll start to understand what we're doing. I'm intentionally blowing the background out. Steven Ehrlich: But I like the fact that it's so abstract. It's like I'm in a fog with that geometry. Yeah, if I stick around you, I get it! Douglas Kirkland: No, you're wonderful. This is your house and this is your picture in many ways so... And then I would like to look through this open doorway. Steady, sure, perfect! Let's put a black and white in there, please.
I'm one of the old guys. Okay, relax. Are you comfortable? Yes, yes, yes, yes, that's it, yes, steady, yes, perfect!
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