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In the Douglas Kirkland on Photography series, well-known photographer Douglas Kirkland explores a variety of real-world photographic scenarios, sharing technical insights and critiquing the results.
In this installment, Douglas discusses the importance of developing a sense of photographic vision: keeping your mind and eye open for photographic opportunities, and maximizing those opportunities through composition and other creative decisions. The course begins with Douglas reviewing images from his personal collection. He discusses the importance of observation and exploration for a photographer, how to see art in everyday situations, and why one should always have a camera nearby.
Douglas then goes on location to shoot in and around Korakia Pensione, a resort in Palm Springs, California. He explains his creative and technical decisions as he shoots, and describes how natural lines created by architecture and light can help make an effective photograph. The course continues on a hike through a Palm Springs canyon, where Douglas captures images in the field, working with moving water, highly textured rock faces, and even some local wildlife. Finally, Douglas wanders through downtown Palm Springs armed with a simple point-and-shoot camera, proving that with vision and an open mind, great images can be made with simplest equipment.
Download a free companion guide to Douglas Kirkland on Photography: A Photographer's Eye from the Exercise Files tab. The guide contains photos, detailed camera-setting information from the shoots in this course, and more tips from Douglas on improving composition and maximizing available natural light.
(music playing) I grew up in a small town in Canada, only seven thousand people. The first picture I ever took was taken with a box camera, a Brownie box camera, and I remember pushing it into my chest, ten years of age at the time, and pushing that device down, and it went "clunk." I got the buzz right then, and it's never stopped since. Now Speed Graphic was the camera of the time, and if you had this in your hand, as a young man, I have to tell you, you really felt you were hot.
Turn this way, that way. I mean that was a charge like nothing else. I got a call from Look magazine, and I was basically hired to shoot fashion, and I was the new generation. I was in my mid-twenties. The year was 1960. And then my boss in New York called me and he said, "We'd like you to go Las Vegas with our movie editor because Elizabeth Taylor, who hasn't been photographed or had a story done on her for about two or three years now, has said she will give us an interview." I sat quietly in the back of the room as the journalist interviewed her, and I went up to her at the end and I took her hand and I said, "Elizabeth, I am new with this magazine," looking straight here straight in the eye, just like I am you, "could you imagine what it would mean to me if you would give me an opportunity to photograph you?" I was holding her hand still. Pause.
She probably thought she was never going to be released, and then she said, "Okay, come tomorrow night at 8:30." To make a long story short, I did, and I got pictures that ended up really starting my career of photographing celebrities. I had the cover of Look magazine, my first cover, and from then it was like an explosion of possibilities. This camera is the one that I actually used to photograph Marilyn Monroe, this very camera, this 500C.
We went to visit her in her Hollywood home. It was this camera, myself, Marilyn, a wonderful photo session that went on for about three or four hours. I feel a great attachment to this. I have been very careful to hold on to my images. Ever since then, I was always able to keep my pictures, so that's why I have all these books, fifteen in all at the moment, I believe. I am best known for my work around entertainment, and these are work from the movies.
They are different times, different places. I have worked on one hundred and sixty films in all, by our last count. For me, one of the most significant and important areas of working with people is to know your subject, feel sympathetic toward them. You have to feel that I care about you, and I do. Boy do I ever! Because I know that what you have in you is going to make a great image, and honestly, you can have any lens in the world or any type of camera, but if you don't have a subject who's connecting with you, your chances are substantially reduced of getting a good image.
I learned from a lot of different sources and resources, certainly, and photography in the early days and later on with computers. I asked a lot of people a lot of questions, and I had a lot of wonderful people help me. And frankly, years ago, somebody gave me a lesson that I've really held on to, and I feel this way very strongly: do the same for somebody else. When you receive something good, just pass it along, and I hope that you get out of this something special, and I am trying to pass it along to you. I care about it.
I hope you do. (music playing)
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