| 00:00 |
(MUSIC).
|
| 00:02 |
Douglas: Telling stories whether it's
with your camera or with your words is a
|
| 00:06 |
great form of expression.
I think we all like to do that.
|
| 00:09 |
(MUSIC).
|
| 00:11 |
Ultimately, for me it's the camera.
|
| 00:13 |
(MUSIC).
|
| 00:16 |
I was hired at Look Magazine in 1960.
And from that point on I learned how my
|
| 00:22 |
camera could, strange thing to say, but
could literally talk.
|
| 00:27 |
I think everybody's camera can if they
allow themselves to see what's there and
|
| 00:33 |
make choices.
You really communicate with your camera.
|
| 00:38 |
(MUSIC).
|
| 00:49 |
Photo journalism in the 60s was glorious.
I was called by the director of
|
| 00:53 |
photography at Look.
I was hired in July of 1960 and it was a
|
| 00:57 |
very energetic time for photography and
it was a great place to be.
|
| 01:03 |
And frankly I grew up there.
I traveled with writers.
|
| 01:07 |
I, my life changed a great deal and I was
exposed to all sorts of opportunities.
|
| 01:12 |
For example, Coco Chanel, she had a great
influence on me because I was given an
|
| 01:17 |
assignment to go to Paris and she didn't
trust me.
|
| 01:22 |
Who was Douglas Kirkland from New York,
from this magazine, Look?
|
| 01:25 |
Look was important but Douglas Kirkland?
so what she made me or, asked me to do
|
| 01:31 |
and insisted that I do, was to photograph
some of her fashion.
|
| 01:36 |
So, I went out with her models and
photographed them.
|
| 01:40 |
Some of them right at the place where she
worked in on the Rue Cambon in Paris, and
|
| 01:44 |
then I well, also went over near the
Louvre and used that as a background.
|
| 01:51 |
She not only asked me, she insisted that
I have that developed and come show her
|
| 01:55 |
what I could do.
She carefully looked through them.
|
| 01:59 |
And I, I was like hat in hand there.
And she, she liked what she saw, and she
|
| 02:03 |
gave me a green light to do whatever I
would like.
|
| 02:07 |
She opened her life to me with, with a
great deal of intimacy.
|
| 02:12 |
And I used my camera to record this.
Now, I was starting to really understand
|
| 02:18 |
what my camera could do.
And for example, one picture that's used
|
| 02:22 |
a great deal is where she's working with
her hands.
|
| 02:26 |
And that was the power.
And I came in close-up on that.
|
| 02:30 |
This was part of telling the story.
I want to tell you about working on a
|
| 02:36 |
special issue on Japan that I did.
I was given approximately a month to do
|
| 02:42 |
an entire issue of the magazine.
We went to Hiroshima and we spent time
|
| 02:47 |
with a family that had survived the atom
bomb.
|
| 02:51 |
A young man who was a protester, and I
went with him to demonstrations where we
|
| 02:56 |
were tear gassed and everything, and wore
helmets.
|
| 03:00 |
But I still had to have a cover.
And one day we were on the bullet train
|
| 03:05 |
going back to Tokyo from where we'd, we'd
been.
|
| 03:09 |
And I, I saw some, some great graphics on
a wall.
|
| 03:15 |
So, I got my interpreter to find a place
where we could get this symbol painted
|
| 03:20 |
that meant Japan or home.
And so, then we got two, two kids, which
|
| 03:25 |
we, we got from a model agency, believe
it or not.
|
| 03:29 |
And got the little kids to sit on the
curbside and put that behind them.
|
| 03:33 |
There was our cover.
So, there is resolving a problem, an
|
| 03:38 |
entire issue, and you need something that
is going to be graphically strong.
|
| 03:43 |
But also tells what is in this issue.
(MUSIC) Where good storytelling begins is
|
| 03:51 |
really thinking about the subject you're,
you're with.
|
| 03:58 |
That's really the difference between
taking pictures and really telling a story.
|
| 04:02 |
And of course, it should be telling
information.
|
| 04:05 |
It's not just about making a pretty
picture.
|
| 04:07 |
Each picture should have a meaning to it.
Because the individual out in front of
|
| 04:12 |
you and what you're doing, that's what's
important and that's where your story is
|
| 04:15 |
really going to come from.
(MUSIC) What I'd like to do now is tell
|
| 04:20 |
you about a story I've wanted to do and
I've just completed.
|
| 04:28 |
My wife and I, Françoise and I, don't go
out to restaurants very much.
|
| 04:32 |
But when we do go out there's always one
place we go to.
|
| 04:35 |
It's where a couple of friends of hers
have created a restaurant, Nicolas and Frederic.
|
| 04:41 |
And they are two brothers, who have a
wonderful restaurant called, The Little Door.
|
| 04:47 |
We thought about this very carefully
before launching into this project.
|
| 04:52 |
Because what you have to have is a clear
idea of what you're trying to say.
|
| 04:58 |
And what is that?
It's the story of why this place works.
|
| 05:02 |
It works very well.
And what are the elements that make it work?
|
| 05:05 |
And who are the people that make it work?
It's not just one individual.
|
| 05:08 |
It's the team they have.
For example, the chef is a wonderful man
|
| 05:13 |
who's also Nicolas, another Nicolas
there, and where does he get the produce
|
| 05:17 |
that he works with?
Because that's obviously critical.
|
| 05:22 |
That, that's the beginning.
So, I thought, if we can go with him to
|
| 05:25 |
the market and see the relationship he
has with the people who supply him with
|
| 05:29 |
the food.
Because it all starts with the Farmers
|
| 05:33 |
Market, a very special one in Santa
Monica.
|
| 05:36 |
(MUSIC) The lens I'm using on the camera
is a 16 to 35, I want to be able to move quickly.
|
| 05:48 |
You want to see that you're in a market
and you've got to have details on the
|
| 05:53 |
produce, but then I pull back and I
want to see what is around it.
|
| 06:00 |
And I will make that second picture.
(MUSIC) So, the strobe we're using is a
|
| 06:05 |
very simple strobe with a, a radio on it.
I have a radio on the top of my camera
|
| 06:09 |
and he has a receiver on the top of the
strobe.
|
| 06:12 |
And we make it very weak.
Because it should just be a fill light.
|
| 06:16 |
It's not intended to overpower.
And we check with the meter once or twice.
|
| 06:20 |
And after that, just watch that distance.
Keep the distance, and move it.
|
| 06:24 |
And if you need to change it, okay.
Acknowledge it, and you maybe have to
|
| 06:28 |
increase or decrease the power of the
strobe.
|
| 06:30 |
But generally, we can work quickly like
this and effectively.
|
| 06:35 |
Occasionally, we'll put a warm gel on it.
We put that on to give it a natural look.
|
| 06:40 |
We don't want it to look like a flash.
The purpose is just to open up the
|
| 06:44 |
shadows a little.
Female Speaker A favor?
|
| 06:50 |
Can you do a, that handshake once more?
Douglas: Sometimes I actually ask people
|
| 06:57 |
to repeat something.
If I saw an instant that was perfect that
|
| 07:01 |
was just as they were turning and then
they went away and all the elements were
|
| 07:04 |
in that picture.
I mean it's stamped in my head but I
|
| 07:08 |
didn't, I knew I didn't get it.
Douglas: Do it one more time if you don't mind.
|
| 07:12 |
Thank you.
Thank you very much.
|
| 07:16 |
Douglas: I will occasionally say, could
you just try that again.
|
| 07:20 |
Just lean a little more forward.
We, the light was beautiful there.
|
| 07:24 |
The, the sun was coming in.
Could you just do this a little more?
|
| 07:27 |
Douglas: Okay great, thank you.
Douglas: I don't do it too often.
|
| 07:32 |
I want it all to occur in its natural
form.
|
| 07:36 |
And never say to somebody, just act
natural.
|
| 07:39 |
No one knows what natural is.
You might say, just please forget I'm
|
| 07:43 |
here as much as possible.
That's really what you want, and I don't
|
| 07:46 |
want to interfere or involve myself in
taking my subject away from what he or
|
| 07:50 |
she's doing.
I want them to live it, and I will only
|
| 07:54 |
occasionally, when necessary, ask for a
repeat of something.
|
| 08:00 |
When you're doing this, you'll see me
swinging around like this.
|
| 08:04 |
Why?
Because you want to always see the faces.
|
| 08:08 |
Don't get the backs of heads unless you
have a very distinct good reason.
|
| 08:12 |
You'll want to be able to watch the
expressions on people.
|
| 08:15 |
And frankly, that is something that so
frequently is overlooked.
|
| 08:19 |
And so that's where the strength in your
pictures come from.
|
| 08:22 |
(FOREIGN) (MUSIC) Then we came back to
the restaurant, and I wanted to see
|
| 08:32 |
Nicolas in the kitchen.
But I watched him just as he prepared
|
| 08:41 |
some soup.
He was doing that and I just asked him if
|
| 08:44 |
I could stay there with him a little.
All I did was put my camera on auto-white balance.
|
| 08:51 |
And once I had that, I had great freedom.
I found I could just concentrate on what
|
| 08:55 |
I was seeing happen.
(NOISE) And I saw him pulled in different directions.
|
| 09:07 |
He was doing one thing once and he turned
the other way and, this is a picture.
|
| 09:11 |
You feel at the time it is happening, you
become a different photographer at each place.
|
| 09:16 |
I'm a different photographer out in the
marketplace than I am in Nicolas' kitchen.
|
| 09:22 |
I will be quite different, because you
become different people to help yourself interpret.
|
| 09:27 |
Douglas: Thank you.
Douglas: The most important part of any
|
| 09:32 |
restaurant is, of course, ultimately, the
food.
|
| 09:36 |
Basically, what I decided I should do,
was really move our studio to the restaurant.
|
| 09:41 |
A studio's in the photographer's head, to
a large degree, especially if you really
|
| 09:45 |
are resourceful and can make things
happen.
|
| 09:48 |
Douglas: One of the things I was thinking
about is the white just floating on.
|
| 09:51 |
Female Speaker 1: mm-hm.
Douglas: white.
|
| 09:52 |
Female Speaker 1: yeah.
Douglas: And that might be where we begin.
|
| 09:55 |
So.
Douglas: One of the ideas I had was using
|
| 09:57 |
a sheet of plastic.
We used to call it milk glass.
|
| 10:02 |
What I wanted to do is be able to light
underneath it.
|
| 10:05 |
I wanted it to be able to glow, and I
wanted to have control over the amount of
|
| 10:08 |
light coming up.
Douglas: Move it a little camera-right
|
| 10:12 |
again, the whole light.
Yep, thank you.
|
| 10:17 |
But tip it down so it's not hitting the
glass itself if you can, please.
|
| 10:21 |
Douglas: We put a second light on the
background against the wall.
|
| 10:25 |
So, we could shoot down or on an angle
and still get this clean, what would
|
| 10:29 |
appear to make the pieces float.
Douglas: Well, that's pretty nice.
|
| 10:36 |
Douglas: And then the remaining light,
the third light, is simply a soft box on top.
|
| 10:41 |
Now, the next element here is you have to
balance all of this.
|
| 10:45 |
Douglas: Take the meter and see how much
light you have.
|
| 10:48 |
Douglas: We wanted enough light out
coming through from the bottom that it
|
| 10:52 |
bleached it.
And that was about half a stop to a stop
|
| 10:57 |
brighter than the light from the soft box
on top.
|
| 11:02 |
If you had it stronger than that, you
would start to get flare, or halation,
|
| 11:05 |
back into the lens.
Douglas: (LAUGH) Food today.
|
| 11:08 |
It's about food.
Douglas: Working with Nicolas here was
|
| 11:12 |
very important, because he cared, and he
did it beautifully.
|
| 11:16 |
He wanted one picture directly above of
the plate, the circular plate, and so I
|
| 11:19 |
did that.
And it's, graphically it's interesting,
|
| 11:23 |
but I felt that I didn't see the food
rise up enough.
|
| 11:26 |
It was flattened.
I preferred coming down on a slight angle
|
| 11:29 |
to see it more as we see it at the table.
The food is the star.
|
| 11:34 |
So, that was our first setup.
(MUSIC) The next piece I, I wanted to
|
| 11:39 |
photograph, I was trying to get variation
in the food photography.
|
| 11:46 |
I didn't want it to all be the same.
Actually what happened when we were
|
| 11:50 |
putting the white down, I looked at this
beautiful wood on the wall.
|
| 11:54 |
What a shame to be covering that.
It's so beautiful, magnificent.
|
| 11:58 |
And then I saw a table that looked like
it was part of the same structure.
|
| 12:03 |
I thought, let's try something where we
see a light plate against a dark background.
|
| 12:09 |
Douglas: I'm just experimenting, that's
all.
|
| 12:12 |
Douglas: What I had the idea of is what
we call a north light look.
|
| 12:16 |
Creating, a very natural-looking light is
coming in this one softbox.
|
| 12:21 |
And frankly, I had another idea.
I used a tilt shift lens.
|
| 12:25 |
It's part of my arsenal of equipment I've
had a long time.
|
| 12:30 |
But in this case, with a wide angle lens,
when you start to look down, the two
|
| 12:35 |
parallel lines are no longer parallel,
they tend to look like that.
|
| 12:42 |
I wanted to avoid that, and how do you do
that?
|
| 12:45 |
It's the principle of the view camera.
What you do is you don't the camera down.
|
| 12:49 |
You drop the lens down.
And that way we can keep the camera's
|
| 12:53 |
back parallel with those lines in the
wall, and then those lines do not do any moving.
|
| 13:02 |
Then I had another Idea.
I had gotten seamless paper.
|
| 13:06 |
Keeping the north light sense of lighting
in its simplicity.
|
| 13:11 |
What I did here was I turned the, this
soft box off the background.
|
| 13:18 |
I wanted it to be shining through the
glass.
|
| 13:21 |
I needed, what I call the flag, somebody
blocking some of that light that is
|
| 13:25 |
shining right into the lens.
And I, we could have either gotten a, a
|
| 13:29 |
large board and put in there.
Or, it was simple enough to have, in this
|
| 13:33 |
case, Miranda just stand there because
she, she could provide the same effect.
|
| 13:43 |
(MUSIC) Then I felt, frankly, this is
what was going on in my mind.
|
| 13:46 |
I thought, I wonder if there's some more
elements I could put in here.
|
| 13:50 |
And then I asked Miranda to put the straw
in.
|
| 13:53 |
And, and, and once I saw her do that, I
thought, that's a picture.
|
| 13:56 |
Douglas: Put your hand there.
Yeah, that's right.
|
| 13:58 |
Yes, yes, yes.
Okay.
|
| 14:00 |
Thank you.
Douglas: And then the bartender came over
|
| 14:03 |
to provide some other pieces and he did
some twists, but it was observing.
|
| 14:09 |
I didn't premeditate that, that those
hands would have that light.
|
| 14:13 |
And by having it come somewhat from the
back, it tended to give a wonderful edge
|
| 14:17 |
to the glass itself.
But it's all watching, and creating.
|
| 14:22 |
Douglas: (MUSIC) Beautiful.
Douglas: Another way of shooting, because
|
| 14:25 |
there are many ways you that you get
different pictures.
|
| 14:29 |
And that's the power of your photography,
telling your story.
|
| 14:34 |
Is, in this case, I wanted to photograph
the pastry.
|
| 14:38 |
And frankly, what I did is I, I, I become
very fundamental.
|
| 14:42 |
I, I think, what are the characteristics
of this place?
|
| 14:45 |
It has these wonderful arches and I
wanted to see those in the background.
|
| 14:50 |
I wanted to see some of the sun in the
sky.
|
| 14:52 |
And I got a sheet of aluminum material
and put it across one of the tables
|
| 14:56 |
because I wanted to see a reflection.
And so, what I wanted to do is basically
|
| 15:01 |
use almost natural light entirely.
I ultimately did use a little light panel
|
| 15:08 |
as a fill light.
But most important here is what pieces
|
| 15:12 |
you have.
What choices you make.
|
| 15:16 |
It started with this one piece which I
had a love affair with.
|
| 15:20 |
And I looked at it through the camera.
And then I thought where can it's other
|
| 15:24 |
neighbors be.
I very carefully picked different tones
|
| 15:28 |
and I didn't want any two to be the same.
I wanted different shapes.
|
| 15:32 |
Forms and I didn't want any one to block
another.
|
| 15:35 |
Keep asking yourself, can this be better?
And at one point I'd lost the sun.
|
| 15:41 |
Yes, we moved the table.
We can see the sun again.
|
| 15:43 |
But, you try some things because you want
it to be good.
|
| 15:47 |
That's the bottom line.
Whatever you do, make it worth while.
|
| 15:58 |
(MUSIC) Now, I'd photographed the pastry.
It looked glorious.
|
| 16:01 |
Where is it produced?
How is it produced?
|
| 16:04 |
They actually have a second restaurant
next door.
|
| 16:08 |
They produce it at their other entity,
The Little Next Door.
|
| 16:12 |
(MUSIC) I got permission to go over
there.
|
| 16:15 |
Went into the back and I went without an
assistant.
|
| 16:19 |
I went with my two cameras.
I had a 24 to 105 and again my 16 to 35.
|
| 16:28 |
I met the pastry chef, and I introduced
myself.
|
| 16:31 |
And I got to know her as quickly as I
could, just as she was going to start working.
|
| 16:36 |
And I asked her how long she'd been
there, and she'd been there ten years.
|
| 16:41 |
Everybody has a story they like to tell
when they can.
|
| 16:44 |
And that's part of you connecting
quickly, if you can, with people.
|
| 16:49 |
And getting their cooperation.
I watched her create this beautiful cake.
|
| 16:55 |
She started with the basic elements, she
put the icing, I guess you'd call it, or
|
| 16:58 |
frosting on it.
And then she put cookies around the side.
|
| 17:03 |
And she built it.
And suddenly, there was another beautiful
|
| 17:06 |
piece of work created.
But, you know, the interesting thing is,
|
| 17:09 |
I finished with Lisette.
And then I had her hold it out for me
|
| 17:13 |
because this was her product.
This was what she had done.
|
| 17:16 |
Douglas: Thank you very much, Lisette.
That was wonderful.
|
| 17:23 |
Thank you.
Douglas: In any case, we were in the back there.
|
| 17:25 |
We'd finished the shot we went there to
do.
|
| 17:27 |
But what I didn't do is, I didn't want to
rush out of there.
|
| 17:31 |
I wanted to look around as long as I
could, because something else might be happening.
|
| 17:36 |
And indeed it was.
I found a man just off the side rolling
|
| 17:40 |
pastry out.
What was he doing?
|
| 17:42 |
He was preparing croissant.
I saw him roll them up and put them on a
|
| 17:47 |
tray that was going to go into the oven.
And I watched this process.
|
| 17:52 |
Then, I watched, over at the side where
Lisette had been a few minutes earlier,
|
| 18:00 |
and I saw a man start drawing.
And then he did several happy birthdays,
|
| 18:06 |
and we saw them grow.
And I feel I got something quite
|
| 18:09 |
effective there.
(MUSIC) So, my one picture of the
|
| 18:13 |
creation of the cake with Lisette became
three pictures.
|
| 18:18 |
And that's again, getting the most out of
everything.
|
| 18:24 |
(MUSIC) I felt I could understand the
entire story once I had the idea of a
|
| 18:31 |
group photograph.
These are the people that make it all happen.
|
| 18:38 |
It doesn't, the wheels don't turn without
them.
|
| 18:42 |
And, once I had that idea, and I truly
did believe if was probably one of the
|
| 18:46 |
most important pictures.
All these special pictures, the
|
| 18:50 |
close-ups, the, the wide shots and all
this, all of that is important and these
|
| 18:54 |
are all the building blocks.
But ultimately, you need a wonderful,
|
| 18:58 |
sustaining piece right in the center.
Douglas: What we really have to do, is
|
| 19:03 |
very simple.
We have to get the, the chairs off the tables.
|
| 19:07 |
It'll just be very weak softbox, that's,
that'll be it.
|
| 19:10 |
Douglas: Basically, it was natural light
with just a, a weak fill coming to get a
|
| 19:13 |
little sparkle in the eyes.
Keep the sense of daylight there.
|
| 19:18 |
Don't kill it.
Don't overpower with strobe, in a case
|
| 19:22 |
like this.
Douglas: Leave the daylight alone first.
|
| 19:24 |
Douglas: Okay.
Douglas: C is just 2.8.
|
| 19:28 |
Douglas: So, I got the two brothers and I
had the idea of having them stand on the table.
|
| 19:33 |
Because the most deadly picture you can
make, the least interesting, I'll call
|
| 19:37 |
it, is have everybody in a line.
because that's not the picture you want.
|
| 19:41 |
The great photographs of groups have
invariably, through the years, been on
|
| 19:46 |
different levels.
And then I, we had some what we call
|
| 19:50 |
apple boxes, or little boxes, so people
could sit at different levels.
|
| 19:54 |
I wanted everybody to be, to have their
own possibility, and that's part of the
|
| 19:57 |
fun of it.
Douglas: Okay, now this is important.
|
| 20:01 |
This is the whole, life of this whole
place.
|
| 20:03 |
Your energy will tell how good it is.
Okay!
|
| 20:07 |
(INAUDIBLE) Oh, you guys are tough.
Two brothers.
|
| 20:12 |
(INAUDIBLE) Yeah yeah yeah.
Douglas: You, you build up some enthusiasm.
|
| 20:17 |
And so, everybody gets picked up and gets
part of it.
|
| 20:20 |
You will get that in those two or three
minutes.
|
| 20:22 |
Douglas: Get your hands up there
Frederic.
|
| 20:27 |
Yeah, yeah, yeah.
Douglas: But make sure, again, keep a
|
| 20:31 |
clear view that you don't build it up and
get so enthusiastic, that you don't get
|
| 20:36 |
the picture.
You, you should really get more than one
|
| 20:41 |
style picture in a situation like that.
Get a, a quiet one.
|
| 20:46 |
And then you can have a, a dancier one if
want.
|
| 20:49 |
Have both ideally.
And that's what we were able to do here.
|
| 20:53 |
And the other thing that I did, after
getting that one big picture, was go out
|
| 20:57 |
and get the two brothers out at their
door.
|
| 21:01 |
Douglas: Yeah, just like that.
Yes, yes, yes, nice.
|
| 21:04 |
That's beautiful.
That's wonderful.
|
| 21:07 |
Yes.
Nice, nice, nice, yes, yes, yes.
|
| 21:11 |
Douglas: Frankly, outside I didn't need
any fill light or anything.
|
| 21:14 |
And they, they, it was just daylight, it
was comparatively soft.
|
| 21:19 |
The fundamental picture for me was the
brothers together.
|
| 21:22 |
But when you have them there, why not
photograph them individually?
|
| 21:26 |
because they may make a statement in the
story.
|
| 21:29 |
They're not always together.
Just have more because editors frequently
|
| 21:33 |
need things that might not occur to you
at the moment.
|
| 21:37 |
And that is very important.
Always provide your, the, the people you
|
| 21:40 |
work for, with much more than they
anticipated and they will be very, very happy.
|
| 21:45 |
But most important of all, of all is to
get the core story.
|
| 21:50 |
What is needed, because that's where it
all happens.
|
| 21:55 |
Douglas: Yeah, nice, nice, yes.
Excellent.
|
| 21:58 |
Douglas: (MUSIC) Then the most important
parts.
|
| 22:01 |
The entire Little Door really functions
around what the public sees at night.
|
| 22:06 |
Now, the way we had to do this was to get
people of our own in there.
|
| 22:11 |
Rather than to be, we're not going to
shoot a candid shot of that restaurant at night.
|
| 22:17 |
We wouldn't have the control we wanted.
And so what I did is I selected this area
|
| 22:22 |
where you'd see the effect of this arch.
Then, I knew I could put two people in
|
| 22:27 |
the far back, but I wanted some people
comparatively close to me in the
|
| 22:31 |
foreground because I wanted it to feel
and look real.
|
| 22:37 |
Douglas: Now lean on the table,
(UNKNOWN), if you will, and look into his eyes.
|
| 22:40 |
Yeah, yeah.
Good girl, (UNKNOWN).
|
| 22:42 |
That's it, that's it.
Good, good, good, good, yes, yes, yes,
|
| 22:44 |
yes, yes, yes.
Douglas: So, what I wanted to do is make
|
| 22:49 |
any light that we introduced there very
minimal.
|
| 22:52 |
So, what I did, frankly, it was, I took
one of our plugin strobes.
|
| 22:57 |
And then I put a warm gel on it, and I
bounced that off the far end of the wall.
|
| 23:02 |
And then I took the little LED in the
front, I warmed that up.
|
| 23:08 |
And I made a choice that I wanted to be
on a longer lens, it's a 70 to 300.
|
| 23:14 |
And that would allow me to get as long as
I would ever need in there.
|
| 23:18 |
And the exposure I ended up with was a
forty fifth of a second at 4.5, 4000 ISO.
|
| 23:27 |
Basically, our strobe and our little LED
are really fill lights.
|
| 23:31 |
Beyond that, we're really taking the
pictures with candlelight.
|
| 23:34 |
Douglas: (MUSIC) Hey David, put your arm
around behind her, or something.
|
| 23:40 |
This is a nice moment.
Yes, yes, yes, I love that!
|
| 23:43 |
I love it, I love it!
Douglas: At that moment, all I could feel
|
| 23:47 |
is I wanted to, to convey what the bottom
line is.
|
| 23:51 |
What you feel, what a person feels when
they go in there.
|
| 23:56 |
It's a world of elegance, and that's what
you are in.
|
| 24:00 |
And that's when I wanted to portray and
was able to.
|
| 24:04 |
Male Speaker 1: Cool.
Douglas: It really looks glamours and
|
| 24:06 |
beautiful and warm.
Douglas: This is a true communication and
|
| 24:09 |
expression of how I feel.
And this is why it makes a perfect story.
|
| 24:14 |
It's all there.
Piece by piece put together.
|
| 24:17 |
Female Speaker 2: (MUSIC) Is that a wrap?
Douglas: That's a wrap.
|
| 24:20 |
Well done, everyone.
Douglas: I've been telling different
|
| 24:22 |
stories for more than 50 years.
It's, it's a long time, but it's been
|
| 24:26 |
wonderful and I still feel as much
passion and enthusiasm today as ever.
|
| 24:38 |
(MUSIC) If you are the photographer, just
consider what your possibilities are, and
|
| 24:41 |
always make it good.
Because frankly, if you keep reaching,
|
| 24:44 |
you'll probably get to places you didn't
even know you could get to.
|
| 24:48 |
That is special, and that is why I am a
photographer.
|
| 24:52 |
(MUSIC)
|
| 24:52 |
|
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