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We have to mention again the obvious but beauty is truly in the eye of the beholder.
I, as the beholder of the camera, I’m always trying it to extract some form of beauty regardless of how it manifests itself. And the beauty, I think with in this case, perhaps be expressed in the immediacy of the expression or the humanity captured in the eyes. The parallel between portrait and nature as one that is difficult to draw exactly because there is such different mediums.
I will make the same analogy to photography as I do with music which is, to me, there are only two types of photography—the good and bad. And so whatever stimulates or inspires me and the one I see an environment, whether human or natural, it is drawing from the same desire to capture my interpretation of that particular environments.
So, I was trying to extract the beauty that I see and hopefully other people might share that sensibility or at least to appreciate whatever sensibility I bring forth in that respect. But, that’s very different, I mean, when you shoot people, you’re dealing with one face and one body and then you have one infinite number of capturing how that person expresses themselves. And then we you deal with nature, I guess it is the same sort of thing. You have to pick, you know, instead of picking expression or the position or the location that you shoot an individual, you ‘re shooting what frame that you’re going to capture as a landscape. What time of the day, whether it is going to be a color and then black and white and then jam.
And ultimately, trying to process that visual through your own sensibility and your emotional response to that environment. So, ultimately, it’s always emotional response here as to photography. You are trying to report in some respect here. I think a photographer, in many ways, is also an historian, by virtue of necessity, he’s freezing the moment and time.
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