WEBVTT 00:00:04.759 --> 00:00:06.759 [ atmospheric electronic music ] 00:00:08.683 --> 00:00:10.202 [ CATHERINE OPIE ] What are you gonna say, huh? 00:00:11.039 --> 00:00:13.058 What are you gonna say to the camera? 00:00:13.058 --> 00:00:14.246 You got to look at the camera. 00:00:14.246 --> 00:00:15.550 The camera's over there. 00:00:16.166 --> 00:00:16.777 No, not there. 00:00:16.777 --> 00:00:17.388 It's over there. 00:00:17.647 --> 00:00:18.647 Look, Sunny. 00:00:19.425 --> 00:00:20.754 Camera's there. 00:00:24.359 --> 00:00:26.768 I understood from a really young age 00:00:26.768 --> 00:00:30.381 that work had this potential to convey time. 00:00:33.079 --> 00:00:37.870 It was literally going to the Toledo Art Museum 00:00:37.870 --> 00:00:39.149 or Cleveland 00:00:39.149 --> 00:00:42.868 and standing before a lot of the masters, 00:00:43.413 --> 00:00:45.500 realizing what that depicted 00:00:45.500 --> 00:00:48.491 in relationship to a narrative of the time. 00:00:49.840 --> 00:00:52.280 The early portraits of my friends 00:00:52.280 --> 00:00:54.043 is because of Hans Holbein. 00:00:54.640 --> 00:00:56.443 I was looking at Holbein 00:00:57.480 --> 00:01:00.090 in relationship to making that work, 00:01:00.090 --> 00:01:02.698 especially the importance of a history of aesthetics 00:01:04.099 --> 00:01:07.070 when you might be photographing subjects that people 00:01:07.070 --> 00:01:10.110 don't really want to talk about or look at. 00:01:12.470 --> 00:01:16.500 It couldn't be like a Diane Arbus photograph. 00:01:16.500 --> 00:01:20.301 It had to completely focus on the body and also color. 00:01:21.650 --> 00:01:25.668 I had to seduce the viewer in a different way. 00:01:39.068 --> 00:01:41.259 Girlfriends, I think, will always be ongoing. 00:01:41.259 --> 00:01:43.939 I think that it's gonna be just a collection of images 00:01:43.939 --> 00:01:47.701 that I continue throughout my life hopefully. 00:01:54.390 --> 00:01:56.810 Diana Nyad is definitely going to be 00:01:56.810 --> 00:01:59.675 included in the body of work when I exhibit it next. 00:02:04.111 --> 00:02:05.219 - I like this blue. 00:02:05.219 --> 00:02:07.119 I think it's good to photograph it on a different color 00:02:07.119 --> 00:02:08.219 than last year. 00:02:09.360 --> 00:02:11.660 The photograph of her back is, to me, 00:02:11.660 --> 00:02:12.870 just, like, one of these 00:02:12.870 --> 00:02:15.940 perfect, amazing beautiful photographs 00:02:15.940 --> 00:02:19.810 of this 61-year-old, powerful woman. 00:02:21.211 --> 00:02:23.560 - All right, here we go, buddy. All right. 00:02:24.810 --> 00:02:26.190 I want you to try to go in your head 00:02:26.190 --> 00:02:27.800 where you're going when you're swimming, okay? 00:02:27.800 --> 00:02:29.831 I just want you to be in that place a bit. 00:02:34.655 --> 00:02:36.959 Okay, blink, and then open your eyes. 00:02:36.959 --> 00:02:37.959 [shutter clicks] 00:02:37.959 --> 00:02:40.230 And look right into the camera, Di. 00:02:40.230 --> 00:02:41.620 [shutter clicks] 00:02:41.620 --> 00:02:43.000 - [indistinct speech] 00:02:43.000 --> 00:02:44.000 - Yeah. 00:02:44.000 --> 00:02:46.089 How's the light look, Nicole? 00:02:46.089 --> 00:02:47.177 - It's good. 00:02:47.177 --> 00:02:49.469 Her– the shadow's a little dark. 00:02:49.469 --> 00:02:51.092 - Can I see? 00:02:51.092 --> 00:02:53.439 I like that, with the cap on and the goggles too. 00:02:53.439 --> 00:02:54.439 - I like it too. 00:02:54.853 --> 00:02:55.985 - I think it's good. - Yeah. 00:02:55.985 --> 00:02:56.727 - I love that. 00:02:56.727 --> 00:02:58.297 - That's cool. - That's beautiful. 00:02:58.297 --> 00:03:00.579 Well, I think maybe I need the 80 lens. 00:03:00.579 --> 00:03:01.579 - Yeah. 00:03:02.071 --> 00:03:03.351 [shutter clicks] 00:03:04.389 --> 00:03:05.208 [shutter clicks] 00:03:07.049 --> 00:03:09.690 I don't think that Surfers would have existed, 00:03:09.690 --> 00:03:10.989 in terms of me making them, 00:03:10.989 --> 00:03:12.685 if I hadn't made the Icehouses. 00:03:14.500 --> 00:03:17.299 The correlation between Surfers and Icehouses 00:03:17.299 --> 00:03:19.150 is this notion of a temporary community 00:03:19.150 --> 00:03:20.559 that exists on the water. 00:03:24.000 --> 00:03:25.898 One is a frozen temporary community. 00:03:25.898 --> 00:03:29.607 The other is a community that is out in the pacific ocean. 00:03:32.019 --> 00:03:36.463 Both of them contain that kind of metaphor of waiting. 00:03:40.481 --> 00:03:42.046 You can slow down. 00:03:43.965 --> 00:03:45.404 You can stop. 00:03:47.479 --> 00:03:50.878 And you can maybe even have an ethereal moment. 00:03:57.310 --> 00:04:01.032 [birds squawking] 00:04:01.032 --> 00:04:03.239 - The trick is to not spill the coffee. 00:04:03.239 --> 00:04:06.303 It's okay if the camera drops, but the coffee. 00:04:13.980 --> 00:04:15.510 I grew up in Sandusky, Ohio, 00:04:15.510 --> 00:04:19.060 and we left when I was 13 to move to California. 00:04:19.719 --> 00:04:22.690 Sandusky, Ohio is the somewhat small town 00:04:22.690 --> 00:04:25.328 that's located right on Lake Erie. 00:04:25.328 --> 00:04:28.020 It's most known for Cedar Point Amusement Park, 00:04:28.020 --> 00:04:29.860 Where everybody from the Midwest comes. 00:04:31.440 --> 00:04:35.422 Cleveland is about 45 minutes north of Sandusky. 00:04:37.030 --> 00:04:38.770 When the Cleveland Clinic approached me 00:04:38.770 --> 00:04:40.470 to do a body of work, 00:04:40.470 --> 00:04:44.180 I immediately proposed that I would 00:04:44.180 --> 00:04:46.020 go and photograph Lake Erie, 00:04:46.020 --> 00:04:47.740 and specifically because I wanted 00:04:47.740 --> 00:04:49.186 to go back to Sandusky. 00:04:52.143 --> 00:04:53.220 - One thing I don't like is 00:04:53.220 --> 00:04:55.410 how the birds go in my horizon. 00:04:55.410 --> 00:04:57.343 I would prefer that they would go away. 00:04:59.726 --> 00:05:01.610 It's the first time ever that I've ever been able 00:05:01.610 --> 00:05:04.110 to do a piece that is actually going to 00:05:04.110 --> 00:05:06.000 stay there for the life of the building. 00:05:06.000 --> 00:05:06.928 [shutter clicks] 00:05:13.110 --> 00:05:14.570 The fact that I was commissioned 00:05:14.570 --> 00:05:16.940 allowed me to spend a year 00:05:16.940 --> 00:05:19.380 going in and out on six different trips 00:05:19.380 --> 00:05:21.080 to my hometown 00:05:21.080 --> 00:05:22.630 and look at it again 00:05:22.630 --> 00:05:25.426 Through a 50-year-old photographer's eyes. 00:05:26.197 --> 00:05:29.654 - I don't really like the waves breaking that much in it. 00:05:29.809 --> 00:05:31.412 Aw, it got me wet. 00:05:33.235 --> 00:05:34.512 [shutter clicks] 00:05:35.668 --> 00:05:36.671 [shutter clicks] 00:05:44.515 --> 00:05:47.039 Every season that's represented in the piece 00:05:47.039 --> 00:05:50.430 is four photographs of that season. 00:05:50.430 --> 00:05:52.580 Except for winter has five. 00:05:52.580 --> 00:05:55.229 And winter has five, specifically, 00:05:55.229 --> 00:05:58.060 because we always think that the frozen landscape 00:05:58.060 --> 00:06:00.000 will never disappear. 00:06:00.000 --> 00:06:01.110 - This is sunrise. 00:06:01.110 --> 00:06:02.690 This is sunset. 00:06:02.690 --> 00:06:04.510 This is sunrise in the same location. 00:06:04.510 --> 00:06:06.274 You'll see the foot tracks here. 00:06:06.450 --> 00:06:13.280 I love that a careful viewer will pick up that little moment 00:06:13.280 --> 00:06:15.930 that that is the same place at different times, 00:06:15.930 --> 00:06:17.073 different days. 00:06:19.822 --> 00:06:22.670 But I love that the little animal footprints are here. 00:06:22.670 --> 00:06:26.630 And then there's just a slight band of pink in the sky. 00:06:26.630 --> 00:06:29.243 Just does– ugh– all these crazy things. 00:06:33.184 --> 00:06:36.610 Sitting with it isn't sitting with it for a long time. 00:06:36.610 --> 00:06:39.160 It's kind of like how I photograph portraits as well. 00:06:39.160 --> 00:06:41.765 I make decisions fairly quickly. 00:06:42.270 --> 00:06:44.530 But I want to make sure that I can walk into the studio 00:06:44.530 --> 00:06:46.816 three days in a row and have it hold me. 00:06:48.296 --> 00:06:51.916 And now the biggest question is: "Amusement park or sailboat?" 00:07:04.782 --> 00:07:05.780 Now, I could do away 00:07:05.780 --> 00:07:08.530 with the Cedar Point one altogether 00:07:08.530 --> 00:07:12.000 and go to that really ethereal fog one. 00:07:12.000 --> 00:07:16.554 See how attached I am to Cedar Point as a place. 00:07:22.096 --> 00:07:23.855 It's pretty nice. 00:07:24.784 --> 00:07:27.495 [laughing] 00:07:29.160 --> 00:07:30.928 It's a little sad. 00:07:31.712 --> 00:07:35.224 So that's where you have to let your nostalgia go away, 00:07:36.126 --> 00:07:37.686 If you can. 00:07:39.372 --> 00:07:40.406 I don't know. 00:07:40.406 --> 00:07:41.224 [laughs] 00:07:41.224 --> 00:07:42.360 I don't know if I can let– 00:07:42.360 --> 00:07:45.536 I think so, ultimately, to make a better piece, yeah. 00:07:47.326 --> 00:07:47.874 So... 00:07:53.190 --> 00:07:56.400 The fact that this is going to be in a hospital setting 00:07:56.400 --> 00:07:58.680 that can be life-changing for people 00:07:58.680 --> 00:08:01.034 for either good news, bad news. 00:08:02.590 --> 00:08:05.550 To be able to have a place that's ethereal 00:08:05.550 --> 00:08:07.199 to almost escape to. 00:08:07.199 --> 00:08:09.210 And I think of change in a certain way 00:08:09.210 --> 00:08:11.030 As escape in my mind. 00:08:11.030 --> 00:08:16.000 Like, they weigh out to be a little bit of the same. 00:08:16.000 --> 00:08:22.564 And I suppose that's, um– that might be more personal. 00:08:23.064 --> 00:08:23.602 You know? 00:08:23.602 --> 00:08:24.410 It might have– 00:08:24.410 --> 00:08:26.430 it might have more of a personal relationship 00:08:26.430 --> 00:08:31.430 To actually what this place did to me when I was a kid– 00:08:31.430 --> 00:08:35.320 was that I was allowed to escape, sometimes, 00:08:35.320 --> 00:08:36.950 situations that were really hard on me 00:08:36.950 --> 00:08:39.530 on an emotional level within our family. 00:08:39.530 --> 00:08:41.930 And literally, I used the landscape 00:08:41.930 --> 00:08:45.940 to change my emotional state. 00:08:45.940 --> 00:08:48.910 And I think that that kind of comes up for me 00:08:48.910 --> 00:08:52.210 in relationship to, often, how I photograph a place. 00:08:52.210 --> 00:08:56.149 As I find this, what I deem as a– 00:08:56.149 --> 00:08:57.744 as a safe place to go. 00:09:18.145 --> 00:09:19.354 [indistinct announcements Over p.A.] 00:09:29.419 --> 00:09:32.700 There were years that I emptied out American cities. 00:09:32.700 --> 00:09:34.209 And what I mean by emptying out, 00:09:34.209 --> 00:09:35.250 that I just wanted to look 00:09:35.250 --> 00:09:38.293 at the specificity of identity through the architecture. 00:09:41.416 --> 00:09:44.709 And so there weren't people in those big panoramas. 00:09:49.834 --> 00:09:51.800 I think it started with the body of work 00:09:51.800 --> 00:09:53.115 in and around home. 00:09:54.360 --> 00:09:57.200 I was back on the street with a camera in my hand 00:09:57.200 --> 00:10:00.197 like I was in the early '80s in San Francisco. 00:10:00.197 --> 00:10:02.970 And I was looking at these groups of people 00:10:02.970 --> 00:10:04.630 that had come together, 00:10:04.630 --> 00:10:07.980 either to celebrate U.S.C. Football 00:10:08.950 --> 00:10:10.640 or Martin Luther King 00:10:11.101 --> 00:10:15.362 or a rally against 31 registered sex offenders. 00:10:15.670 --> 00:10:20.050 I realized that it was really important for me 00:10:20.050 --> 00:10:22.706 to no longer empty out the landscape. 00:10:22.706 --> 00:10:25.829 But to fulfill this other kind of notion 00:10:25.829 --> 00:10:28.963 of creating documents of our time. 00:10:29.380 --> 00:10:33.200 I really wanted to make American landscapes, 00:10:33.200 --> 00:10:35.420 the notion of American landscape 00:10:35.420 --> 00:10:37.127 in terms of an identity. 00:10:40.817 --> 00:10:42.000 [birds chirping] 00:10:46.565 --> 00:10:47.284 - Oh, my gosh. 00:10:47.284 --> 00:10:49.060 The trees are amazing. 00:10:49.060 --> 00:10:50.720 - Oh, yeah. 00:10:50.720 --> 00:10:51.720 Wisteria? 00:10:51.720 --> 00:10:52.720 - No. 00:10:52.720 --> 00:10:53.720 - No? 00:10:53.720 --> 00:10:54.409 - Jacarandas. 00:10:54.409 --> 00:10:55.409 - Oh, right. 00:10:55.409 --> 00:10:58.970 - Yeah, wisteria's kind of a vine that grows over things. 00:10:58.970 --> 00:10:59.607 - Oh, yeah. 00:10:59.607 --> 00:11:00.244 What– 00:11:00.244 --> 00:11:02.717 - But people from the Midwest say, "Jack-uh-ran-duh." 00:11:02.717 --> 00:11:04.107 [sniffs] 00:11:05.922 --> 00:11:08.070 Okay, let's go see our garage friends 00:11:08.070 --> 00:11:09.070 and see if they're nice 00:11:09.070 --> 00:11:11.090 and let me take a picture of them. 00:11:11.090 --> 00:11:12.760 It's kind of a perfect portrait day. 00:11:12.760 --> 00:11:13.760 - Mm-hmm. 00:11:18.039 --> 00:11:19.039 - Hey, guys. 00:11:19.039 --> 00:11:19.580 How's it going? 00:11:20.334 --> 00:11:21.474 Hey, how are you doing today? 00:11:22.200 --> 00:11:23.478 You know, I live up the street, 00:11:23.478 --> 00:11:25.020 and I always come here and get my tires fixed. 00:11:25.020 --> 00:11:27.769 I'm doing a photo series 00:11:27.769 --> 00:11:30.440 of shopkeepers in the neighborhood. 00:11:30.440 --> 00:11:32.603 I was wondering if I could do a portrait of you. 00:11:34.756 --> 00:11:35.823 Okay. 00:11:39.661 --> 00:11:40.370 Okay, ready? 00:11:40.370 --> 00:11:41.765 Right here with me. 00:11:41.765 --> 00:11:43.479 Just relax. 00:11:43.874 --> 00:11:45.247 [shutter clicks] 00:11:45.247 --> 00:11:46.736 Good. Let me look at that. 00:11:49.208 --> 00:11:52.532 Ah...Very good. 00:11:52.532 --> 00:11:53.710 Now, right here. 00:11:54.825 --> 00:11:55.984 Okay, muy bien. 00:11:55.984 --> 00:11:56.539 That's it. 00:11:57.550 --> 00:11:59.510 Thank you very much. 00:11:59.510 --> 00:12:00.880 Really appreciate it. 00:12:00.880 --> 00:12:02.032 - Have a good time. 00:12:02.032 --> 00:12:02.532 Thank you. 00:12:02.532 --> 00:12:03.284 - Yeah, absolutely. 00:12:05.779 --> 00:12:08.240 I really should learn how to speak spanish. 00:12:08.240 --> 00:12:08.773 - I know. 00:12:08.773 --> 00:12:09.410 -It's really ridiculous. 00:12:09.410 --> 00:12:12.180 I live in Los Angeles, and I can't speak Spanish. 00:12:14.333 --> 00:12:16.300 You studied French. What good is that for you here, huh? 00:12:16.300 --> 00:12:17.300 - I know. 00:12:17.320 --> 00:12:18.420 I studied German. 00:12:18.420 --> 00:12:21.350 It's not really working for us, our languages. 00:12:21.350 --> 00:12:22.050 - I know. 00:12:24.471 --> 00:12:26.591 - See why that– What happened with that? 00:12:29.107 --> 00:12:30.197 [shutter clicks] 00:12:30.197 --> 00:12:31.790 And again. 00:12:31.790 --> 00:12:33.167 [shutter clicks] 00:12:35.760 --> 00:12:37.400 Perfecto. 00:12:37.774 --> 00:12:38.777 And again. 00:12:38.777 --> 00:12:40.000 [shutter clicks] 00:12:45.522 --> 00:12:46.405 [shutter clicks] 00:12:50.137 --> 00:12:51.746 - Let me look at my focus. 00:12:52.758 --> 00:12:54.674 Well, I like how the window framed her. 00:12:54.674 --> 00:12:55.598 - Yeah. 00:12:58.399 --> 00:12:58.899 - That's nice. 00:12:58.899 --> 00:12:59.413 - Yeah. 00:12:59.413 --> 00:13:01.434 - That's a really kind face. 00:13:01.434 --> 00:13:02.607 Yeah. 00:13:02.607 --> 00:13:04.637 So... 00:13:06.660 --> 00:13:08.360 The curator Jens Hoffmann 00:13:08.360 --> 00:13:11.070 approached a group of photographers. 00:13:11.070 --> 00:13:13.760 And he wanted to extend the body of work 00:13:13.760 --> 00:13:15.760 that the farm security administration, 00:13:15.760 --> 00:13:18.000 the F.S.A. did in the 1930s 00:13:18.000 --> 00:13:19.070 under Roosevelt 00:13:19.070 --> 00:13:21.220 that was headed by Roy Stryker. 00:13:21.220 --> 00:13:23.270 And Roy Stryker was the one who got Dorothea Lange 00:13:23.270 --> 00:13:24.760 and Walker Evans to make 00:13:24.760 --> 00:13:27.137 these great documents of the Depression. 00:13:28.330 --> 00:13:29.630 The curator Jens Hoffmann 00:13:29.630 --> 00:13:32.370 asked a group of contemporary art photographers 00:13:32.370 --> 00:13:36.120 to basically believe that he is Roy Stryker. 00:13:36.120 --> 00:13:39.740 and he's reexamining and invoking 00:13:39.740 --> 00:13:40.740 The F.S.A. 00:13:40.740 --> 00:13:42.185 period of photography. 00:13:42.185 --> 00:13:44.740 And I chose to photograph 00:13:44.740 --> 00:13:46.969 the shopkeepers in my neighborhood. 00:13:48.920 --> 00:13:51.339 You know what I think is more than the color in these 00:13:51.339 --> 00:13:53.070 that work the best for me is 00:13:53.070 --> 00:13:57.040 the quality of light, that I have the daylight in it. 00:13:57.040 --> 00:14:01.430 And I think that when you're balancing strobe 00:14:01.430 --> 00:14:03.709 with daylight– and that's why I took down 00:14:03.709 --> 00:14:06.964 the one of him, like, smiling in the grocery store, 00:14:06.964 --> 00:14:09.320 is because it was too strobe-y. 00:14:09.320 --> 00:14:11.550 And the same with the manager, 00:14:11.550 --> 00:14:15.779 it read too much ss press photography, actually. 00:14:15.779 --> 00:14:19.779 It's trying to get away from kind of a journalist read. 00:14:19.779 --> 00:14:21.740 And for me, part of that is 00:14:21.740 --> 00:14:24.279 what happens with light in an image, 00:14:24.279 --> 00:14:27.149 that I need it to be balanced between strobe and daylight, 00:14:27.149 --> 00:14:29.549 for it to be effective and for it to work for me. 00:14:30.148 --> 00:14:31.779 Maybe... 00:14:32.220 --> 00:14:34.800 I think this is a lovely portrait. 00:14:34.800 --> 00:14:36.779 I don't know if that one will make it. 00:14:36.779 --> 00:14:39.718 I like it, but I don't know if it's a good enough photograph. 00:14:40.496 --> 00:14:44.190 But what I know right now in looking at these is, 00:14:44.190 --> 00:14:46.050 these four do something 00:14:46.050 --> 00:14:48.640 that I think that I can be held with, 00:14:48.640 --> 00:14:52.089 um, you know, the next day coming into the studio 00:14:52.089 --> 00:14:53.750 and the next day. 00:14:53.750 --> 00:14:56.010 But as you make more, that's the thing with editing, 00:14:56.010 --> 00:14:59.860 then you go, like, "Oh, well, this isn't gonna work now." 00:14:59.860 --> 00:15:02.060 You just move it around and you move it around 00:15:02.060 --> 00:15:05.436 until it feels like this right balance to you. 00:15:10.883 --> 00:15:11.959 - Oh, my gosh. 00:15:11.959 --> 00:15:13.529 He's getting so cute. 00:15:13.996 --> 00:15:15.336 - Randy heavy. 00:15:15.751 --> 00:15:16.880 - are you heavy? 00:15:16.880 --> 00:15:17.517 Look at it. 00:15:17.517 --> 00:15:18.517 Do you want to see the dog? 00:15:18.517 --> 00:15:20.310 Ooh, I can't believe it cleared up the way it did. 00:15:20.310 --> 00:15:20.973 - I know. 00:15:20.973 --> 00:15:22.334 The sun started coming out. 00:15:22.334 --> 00:15:22.999 I was like, "Wow." 00:15:22.999 --> 00:15:23.499 - I know. 00:15:24.129 --> 00:15:26.737 Okay, you want to– You want to go pick stuff, bud? 00:15:26.944 --> 00:15:27.788 Let's go to the garden. 00:15:27.788 --> 00:15:28.596 - We're gonna go to the garden. 00:15:28.596 --> 00:15:29.103 - No. 00:15:29.103 --> 00:15:29.603 - Uh-oh. 00:15:29.603 --> 00:15:31.459 - Yeah, then you can come back and play with your friends. 00:15:31.803 --> 00:15:32.466 - Can I go too, daddy? 00:15:32.466 --> 00:15:33.025 - Huh? 00:15:33.025 --> 00:15:33.792 - Can I go too? 00:15:33.792 --> 00:15:35.259 - Yeah, you guys can go. 00:15:35.674 --> 00:15:36.207 You can go. 00:15:36.207 --> 00:15:36.844 - No practice today– 00:15:36.844 --> 00:15:37.344 - I know. 00:15:37.344 --> 00:15:38.344 - So you're free. 00:15:38.344 --> 00:15:39.344 - Yeah, you want to come down to the garden? 00:15:40.699 --> 00:15:42.114 You guys haven't been to the garden in awhile. 00:15:42.296 --> 00:15:44.142 Hey, Oliver, do you want to get your scooter? 00:15:45.361 --> 00:15:46.335 - No? - I'm fine. 00:15:47.325 --> 00:15:47.865 - Okay. 00:15:53.084 --> 00:15:54.324 Agh! 00:15:54.324 --> 00:15:54.824 Oh! 00:15:54.824 --> 00:15:55.623 Ashley! 00:15:55.623 --> 00:15:56.942 [laughs] 00:15:56.942 --> 00:16:00.464 See, this is why I need to start playing catch with Oliver. 00:16:00.928 --> 00:16:01.428 Huh? 00:16:01.428 --> 00:16:02.428 - Look. 00:16:02.867 --> 00:16:06.103 One of the things that drives me as a photographer 00:16:06.103 --> 00:16:08.014 is just extreme curiosity. 00:16:08.210 --> 00:16:09.210 - All right. 00:16:09.210 --> 00:16:10.635 Are you taller than me now? 00:16:11.150 --> 00:16:12.070 - I think that's it. 00:16:13.185 --> 00:16:13.685 Almost. 00:16:13.920 --> 00:16:14.506 - Oh, my god. 00:16:14.506 --> 00:16:15.050 You are. 00:16:15.050 --> 00:16:16.029 - All right, that's it. 00:16:16.029 --> 00:16:17.610 Early on, I was always looking 00:16:17.610 --> 00:16:19.690 at the formation of community 00:16:19.690 --> 00:16:24.565 in relationship to finding myself within the populace. 00:16:24.565 --> 00:16:28.560 One of the reasons that I have been driven to the idea 00:16:28.560 --> 00:16:33.570 of creating moments of representation of my time is, 00:16:33.570 --> 00:16:36.269 not only finding myself within that, 00:16:36.269 --> 00:16:39.904 it's also this unbelievable human need. 00:16:39.904 --> 00:16:40.529 - No worries. 00:16:40.529 --> 00:16:41.529 There you go. 00:16:41.529 --> 00:16:44.009 You just put that in the compost. 00:16:44.009 --> 00:16:45.819 So it seems, in a certain way, 00:16:45.819 --> 00:16:48.380 I'm allowing myself to go back 00:16:48.380 --> 00:16:50.130 to those street photography roots. 00:16:50.130 --> 00:16:52.759 It's, like, where I land and what I observe 00:16:52.759 --> 00:16:54.760 Is what I'm making images of. 00:16:55.260 --> 00:16:56.260 - Limbo time! 00:16:56.623 --> 00:16:57.875 - Whoa. 00:17:00.000 --> 00:17:00.637 - Race you! 00:17:00.637 --> 00:17:01.884 - I really wanted to play. 00:17:01.884 --> 00:17:04.189 - No, you get to play right after we walk in the house. 00:17:04.189 --> 00:17:05.513 - Why walking into the house? 00:17:05.513 --> 00:17:07.255 - It's how they finish the piece. 00:17:07.255 --> 00:17:08.293 They're filming us. 00:17:08.293 --> 00:17:09.293 - What? 00:17:15.365 --> 00:17:16.616 - Oh, look. I got a box.