December 10, 2022 • 39 mins
Frontline Reporting: 'Intersections'
Barry Lewis is a London-based photographer and filmmaker, founder of Network Photographers, who has worked internationally for books and magazines from Life magazine to National Geographic.
As well as photojournalism and portraiture, he has directed over 20 documentaries, commercials, and art films. His work has been exhibited at the V&A, The Museum of London, The Photographers Gallery, and Modern Art Oxford.
Notable exhibitions and awards include Positive Lives( 1993), a book and international exhibition about living with AIDS; the World Press Award’s Oscar Barnack Medal for humanitarian photography (1990). In 2019 his images from Butlins in the 1980s will be shown at Turner Contemporary as part of the “Resort” show.
Since 2010 Barry has worked with musician David Toop and singer Elaine Mitchener to produce the mixed-media production “Of Leonardo” for the Teatro Fondamenta Nuove, Venice. A new version, choreographed by Dam Van Huynh, now tours internationally with a performance at the Purcell Room on the South Bank in September 2018. In July 2018 Barry’s film “Pond” was streamed by NTS as part of a performance by Ryuichi Sakamoto and David Toop.
Selected Books:
Butlin’s – https://barrylewisphotography.com/butlins
Glastonbury – https://www.thefloodgallery.com/products/vaguely-lost-in-shangri-la-12-years-of-the-glastonbury-festival-by-barry-lewis
MIAMI BEACH 1988-1995 - https://www.hoxtonminipress.com/products/miami-beach-1988-1995?_pos=3&_sid=14a349bba&_ss=r
Cafe Royal Books - https://www.caferoyalbooks.com/search?q=barry%20lewis
Barry Lewis
Website: https://barrylewisphotography.com/
Instagram: https://www.instagram.com/barrylewisphotography/
Network: https://www.networkphotographersonline.com/
In Pictures: https://www.in-pictures.co.uk/portfolio/C0000KkjgAy1kLUs/G0000ckgYH720dAk
Camera is on:
Twitter: https://twitter.com/Camerasnaps
YouTube: http://www.youtube.com/c/Camerasnaps
Instagram: https://www.instagram.com/camera_books/
Merch: http://camera.myspreadshop.co.uk
Facebook: https://www.facebook.com/camera.proje...
Spotify: https://open.spotify.com/show/0I5BX44...
Amazon: https://music.amazon.com/podcasts/ed3...
Thank you for all your support.
#barrylewis #podcast #documentary #photographer #photography #photos #portraitphotography #documentaryphotography #camera #photobook #cameratalk #lifestories #streetphotography #wtfpodcast #blackandwhitephotography #caferoyalbooks #digitalstories #talkingstories #frontlinereporting
Music from Epidemic Sound
That Just Ain't Enough for Me
Stonekeepers
Barry Lewis is a London-based photographer and filmmaker, founder of Network Photographers, who has worked internationally for books and magazines from Life magazine to National Geographic.
As well as photojournalism and portraiture, he has directed over 20 documentaries, commercials, and art films. His work has been exhibited at the V&A, The Museum of London, The Photographers Gallery, and Modern Art Oxford.
Notable exhibitions and awards include Positive Lives( 1993), a book and international exhibition about living with AIDS; the World Press Award’s Oscar Barnack Medal for humanitarian photography (1990). In 2019 his images from Butlins in the 1980s will be shown at Turner Contemporary as part of the “Resort” show.
Since 2010 Barry has worked with musician David Toop and singer Elaine Mitchener to produce the mixed-media production “Of Leonardo” for the Teatro Fondamenta Nuove, Venice. A new version, choreographed by Dam Van Huynh, now tours internationally with a performance at the Purcell Room on the South Bank in September 2018. In July 2018 Barry’s film “Pond” was streamed by NTS as part of a performance by Ryuichi Sakamoto and David Toop.
Selected Books:
Butlin’s – https://barrylewisphotography.com/butlins
Glastonbury – https://www.thefloodgallery.com/products/vaguely-lost-in-shangri-la-12-years-of-the-glastonbury-festival-by-barry-lewis
MIAMI BEACH 1988-1995 - https://www.hoxtonminipress.com/products/miami-beach-1988-1995?_pos=3&_sid=14a349bba&_ss=r
Cafe Royal Books - https://www.caferoyalbooks.com/search?q=barry%20lewis
Barry Lewis
Website: https://barrylewisphotography.com/
Instagram: https://www.instagram.com/barrylewisphotography/
Network: https://www.networkphotographersonline.com/
In Pictures: https://www.in-pictures.co.uk/portfolio/C0000KkjgAy1kLUs/G0000ckgYH720dAk
Camera is on:
Twitter: https://twitter.com/Camerasnaps
YouTube: http://www.youtube.com/c/Camerasnaps
Instagram: https://www.instagram.com/camera_books/
Merch: http://camera.myspreadshop.co.uk
Facebook: https://www.facebook.com/camera.proje...
Spotify: https://open.spotify.com/show/0I5BX44...
Amazon: https://music.amazon.com/podcasts/ed3...
Thank you for all your support.
#barrylewis #podcast #documentary #photographer #photography #photos #portraitphotography #documentaryphotography #camera #photobook #cameratalk #lifestories #streetphotography #wtfpodcast #blackandwhitephotography #caferoyalbooks #digitalstories #talkingstories #frontlinereporting
Music from Epidemic Sound
That Just Ain't Enough for Me
Stonekeepers
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
Hi, i'maach waters and welcome to another episode of What
They Get Stop podcast Frontline Reporting, where chatter photographers who
are on the frontline of news, world events, or creating
long term bodies of work. Welcome to episode two of
(00:26):
Frontline Reporting. There's been a long time coming, but I'm
really delighted to eventually catch up with photo journalists and
filmmaker Barry Lewis, who is currently out there on the
street creating a new body of work which I found
out in our chat was entitled Intersection in Brief. Early
on in his career, he was a staff photographer with
Vogue magazine, his work for National Geographic and Life magazine,
(00:46):
and nineteen eighty one he co founded Network Photographers. He
won the World Press for his Romania After the Revolution series.
He's published over ten books and zines, and in particular,
his two caffee roll books entitled Albeit You in Isolation
and nineteen ninety and I'll Baying There and Transition in
nineteen ninety one are my all time favorite coffee roll books.
The work is, for me stupendous, It's beautiful, it's got everything.
Speaker 2 (01:10):
As far as I'm concerned.
Speaker 1 (01:11):
You get a chance, you can go on by his
website or the Coffee road Book website and check him out.
So I've been talking to bout it for a while
about coming out and catching and working on the streets,
and eventually I knew he was out in London. I
knew he was in so Home, so I thought, I'm
going to go find him. So I went out looking
for him, and I found him. So I'm on the
junction of or Comic Street, kind of Fifth Street, and
walking around so Home looking for the elusive Baryears. But
(01:36):
I think it's just spotted me. Hello, mate, good to
see you. Just would you go on a coffee?
Speaker 2 (01:43):
No, I'm fine for that. Actually, who are you with?
Speaker 3 (01:47):
I've just this guy I'm going to do that?
Speaker 2 (01:55):
Hello am I Hello, I'm.
Speaker 4 (01:58):
As a go.
Speaker 2 (02:00):
Well went on to do a lot of technical stuff
as I just photographed you, not just.
Speaker 4 (02:05):
As he's getting a coffee.
Speaker 5 (02:08):
He was I'm working with Marrick. I thought you might
get join him, Mike.
Speaker 6 (02:13):
Zach Zach got it okay.
Speaker 1 (02:16):
So as I met Barry, he was in the middle
of photographing somebody for the project, and he was just
about to go into the coffee shop to buy coffee
for the person he was photographing for him and his
assistant Mike. As he was walking into the coffee shop,
he pointed orbit towards Mike and I headed for him
and I asked him some questions and as.
Speaker 7 (02:35):
Mike, I've known Barry for years, we were at university together.
Speaker 5 (02:42):
A couple of years.
Speaker 7 (02:43):
Well, no, about eighteen months ago he got in touch
and said did I want to give him a hand
working on his current project, which was going to be
meeting up with random strangers somewhere in London and he
was going to attempt to put together a series of
portraits that ultimately would go into a book providing and
(03:04):
the funding was going to be available.
Speaker 5 (03:06):
So the sort of the character the nature of the
project was.
Speaker 7 (03:09):
To explore.
Speaker 5 (03:13):
How people interacted in London and.
Speaker 2 (03:17):
Just to.
Speaker 7 (03:19):
Determine something about the character of their lives, why they
were where they were, why they were where they were,
how they felt about living in London, whether there had
been any changes that they'd noticed, either in a short
or long term, that kind of thing. And it's just
gone from there and it's been buried to determine the
(03:41):
locations we happened to be in Soho today, but it
could be in in Highbury, it could be in Hackney,
could be in Spitalfield's Market, it could be anywhere.
Speaker 1 (03:53):
Are there any people Barries looking out for? Was the
sort of I'll say that there's any particular people looking
out for.
Speaker 5 (04:02):
That's a good question, because.
Speaker 7 (04:05):
The nature of what we do is we stand and
we look around and we sort of we suggest to
each other who who we might choose as a possible
subject for a portrait.
Speaker 5 (04:16):
And I think if.
Speaker 7 (04:17):
There's a if there's if there's a a criteria that
we we we bring to the decision. It's basically, who
is going to look interesting as a as a portrait subject?
And then you get into interesting about what is interesting me?
But that's another that's a whole nother discussion.
Speaker 1 (04:35):
Who's going to make a picture? Yeah, how does it
normally work?
Speaker 7 (04:40):
It normally works that probably maybe sort of three to
four to one Barrier will make the choice, and then
he will for the most part, it's him that makes
the approach.
Speaker 5 (04:52):
He suggests. He goes along with his it's a it's
a little sort of promotional.
Speaker 7 (04:59):
Card that shows that the work that he's done already
and it explains the nature of the project that ultimately
it could end end up in a book. And the
trade off is that they the subject or potential subjects.
It's going to get a free picture. And for the
most part they say.
Speaker 2 (05:17):
Yes, and that's this card on the table.
Speaker 1 (05:20):
I must say we're actually sitting and I take knee
or on with Fritz Street at the minute, where is Barry?
Speaker 8 (05:25):
Now?
Speaker 2 (05:26):
Is he warming the streets?
Speaker 5 (05:27):
Barry is there now?
Speaker 2 (05:29):
All right? Now he's picked up a subject, hasn't he? Yes,
here we go.
Speaker 9 (05:33):
Who happened to be a singer just about any situation
would also feel you know.
Speaker 1 (05:39):
So I'm with moving over to towards where Barry is
now with somebody. I think he's aldy to take this
picture for the boss.
Speaker 2 (05:48):
Having a copy is just sort of taking for bridge,
contratting breath. We're going to jump in on it.
Speaker 4 (05:57):
Well whatever. See what what I found is when I.
Speaker 8 (06:01):
Was you know, I used to do most of my
photography was on the street, and I found that I
was all I was never talking to people. I was
always kind of like a hunter, and you could make
great pictures, but you never saw them again. And you know,
depending on the context can change everything.
Speaker 9 (06:19):
Well again, you don't if you if you don't know
who you're photographing and what that. You know, once you've
looked at it, you don't know who you've got, you know,
and it could be Boom or Buss, couldn't it.
Speaker 2 (06:30):
You know, you might have caught that moment that.
Speaker 4 (06:34):
A lot of it's about the moment rather than the person.
Speaker 6 (06:37):
But that's what I mean.
Speaker 9 (06:38):
It's that, it's that, you know, catching someone in the
act of doing something completely ordinary but looking amazing.
Speaker 6 (06:45):
You know, it's.
Speaker 9 (06:46):
You get that because we're really lucky.
Speaker 4 (06:50):
You know.
Speaker 9 (06:50):
It's London wal to eat you up, eat you up
if you if you let it. But it will also,
you know what I mean, embrace you like this place does.
Speaker 3 (06:59):
I came.
Speaker 9 (06:59):
I came up here specifically it's gonna sit here and
have a coffee. I was, I've gone to meet somebody
in hob and and and I thought I'm gonna go
and go and go and have a soho coffee and.
Speaker 2 (07:12):
That.
Speaker 4 (07:12):
But I knew I was gonna sit right here and
enjoy it.
Speaker 2 (07:18):
That's the thing, you know.
Speaker 8 (07:19):
He swing the chair around a little bit, sorry to
it's just round that way, a bit more rounds. That's
it even more, even more, it's just so I can
get the street in the background, rather than that's it.
Speaker 3 (07:31):
That's better. That's better than I can get the street.
Speaker 1 (07:34):
So I'm just backing off nowadays, just rearrange the subject.
But he's got too so I think it's just like
this constant engagement. I guess when he sees somebody heel
gett him into his little footble. I didn't work with him,
and he's just like a good prawl that's what That's
what crawls do, trying to keep them as number as
(07:54):
we can work in a football.
Speaker 2 (07:57):
I think he's probably got a shot up the street
earlier and now it's just sort of into I think
that's part of it.
Speaker 4 (08:04):
Isn't what it is.
Speaker 2 (08:08):
It's good story right at store down. I'm going to
jump back in for me.
Speaker 4 (08:16):
It's that right so Lamb of God. And you know,
I think as a confirmation medal. I mean, I'm a Buddhist.
I was brought up a Catholic, but I had to change.
Speaker 10 (08:29):
I didn't ever watch it works still, buddy, Mama.
Speaker 4 (08:43):
Yeah, chanting Buddhist you're not charged for.
Speaker 9 (08:48):
You can well, no, it's chanting your chance for whatever
whatever it is that you need in order to raise
your life and if it's money, and that money is
going to be used in a way that was going
to raise your life and raise the lives of those
around you. If you just have money for money, yeah,
you can chant for that if you want. It's not
gonna bring your happiness and fulfillment.
Speaker 3 (09:08):
Focusing thing the chanting.
Speaker 4 (09:12):
Basically it is that you give your life over to.
Speaker 9 (09:17):
The wonderful law of cause and effect. Yeah, so you
and you, So you go right, show me the show
me the path and I'll follow it. And by that
sort of exchange with the universe, every time you take
the right right step the chanting and that the things
(09:38):
that come to you are an indication that you're actually
walking along the right the right path.
Speaker 4 (09:42):
So it's like a proof of practice. So yeah, you
can chant for money if that.
Speaker 9 (09:47):
If that's still he's going to.
Speaker 2 (09:51):
Any conversation, but I think what you as should you
just stuck in? Why talk? Remember the scab a.
Speaker 9 (10:00):
Complete obviously material. I use it to remind combat where
it's caught in the red and white spotty And he
looks good.
Speaker 2 (10:14):
Actually, other people.
Speaker 4 (10:18):
Can't find their center as well.
Speaker 2 (10:22):
You gifted with it.
Speaker 9 (10:25):
Being able to self audit but also be able to
see just behind the kind of the veil of what
other people are throwing out, So you have to you
can see someone's unhappy, but they're still being a see
you next Tuesday.
Speaker 8 (10:42):
You know.
Speaker 9 (10:43):
The responsible Buddhist thing to do is to see that
and try.
Speaker 4 (10:47):
I mean, you don't have to be you know, you
don't have to kind of you know, roll over and
let them know.
Speaker 9 (10:51):
You know, it's not Buddhism is not about about being
you know, all meek and holier than that.
Speaker 4 (10:57):
No, No, it's actually a respect.
Speaker 1 (10:59):
And so what started as a simple portrait session on
the street where Barry ended up as a very long
and in depth conversation sitting outside the coffee shop with
his subject and Barby was still taking pictures, and it
just went on for ages, and Barry was really immersed
and interacting and just finding out and talk to this chat.
(11:21):
So I'll just let it ride out and I managed
to start chatting to Barry about this project.
Speaker 8 (11:28):
If two of us are going with that, they are
going to be more scared than if One of the
things I found is just showing them a few pictures
from the thing I'm doing, is they usually say yes
because they look look nice.
Speaker 3 (11:42):
Did I give you a card?
Speaker 2 (11:44):
I don't think I can carry my chancefer, but.
Speaker 3 (11:47):
You don't have to.
Speaker 8 (11:48):
I'll tell you what I've got to I've seen him
one was on the table, so that's the thing that
that's my.
Speaker 4 (11:57):
Entry point.
Speaker 8 (11:59):
So I'm not actually going straight up to them with
the camera now I've got I might have the camera
on my shoulder, but this is unusual for me to handheld.
It's just I wanted to get in that corner and
get what do you normally do tripod up to see you? No,
not with the big camera. The people come, but often
Mike will stay by the camera and tripod and I'll
(12:20):
just go into the crowd.
Speaker 2 (12:24):
I thought you were shooting miss on a five four.
Speaker 4 (12:26):
I was to start half of it's on five four.
Speaker 8 (12:29):
But what's happened is it bustering the funeral and it's
really hard to get the parts it's insured.
Speaker 4 (12:37):
But I'm so loving this. I don't think I'm ever
going to go back.
Speaker 1 (12:42):
Well, I noticed when you were talking to that last
chop there was freedom that you've sort of had a
menu bubble and you were working.
Speaker 8 (12:49):
And you can get more images loads multituose from Low's
multitudes because when he's talking. He was doing doing that
which fitted with him Buddhists.
Speaker 4 (13:00):
I don't know, you know.
Speaker 8 (13:01):
So on the on the five file, I was only
shooting two pictures, usually either side, sometimes more if it
was assert but you know it's six quiitter shot. I
was processing at home. I'm then scanning onto the Immacon spotting.
Speaker 2 (13:22):
So as well as.
Speaker 8 (13:22):
Costing a lot, every day's work was about at least
two days two and a half days editing, scanning, editing,
spotting every bloody bit of dust. The scanners. The immicon
scanner's brilliant, but it shows.
Speaker 2 (13:38):
All the surface.
Speaker 8 (13:39):
And with this I can kind of come back straight
away and I get about ten variations in a sharp.
You've got to be careful you don't do too many.
And I also use it like a five for normally
on the trup. But I don't go to the eyepiece. Look,
I've just got the like the ground glass screen, and yeah,
(14:01):
that's that's important. I rely on the folk. The eye
focus is amazing on this. It picks up on the
eyes and it's not fast, but it once it gets it.
And today a couple of times it wasn't doing it.
Just then it I'm not sure what it is. I
think if you've got a lot of backlight, this can
be a problem.
Speaker 1 (14:20):
Did you feel that you were trying to sort of
emulate the five four when you move talk the couna.
Speaker 8 (14:24):
That's why I got that lens together, because what I
wanted was a shallow depth of field. So it's the person,
not the city, and there's there's a hint of the city,
but I don't want it to be obvious because I
find that nowadays the kind of the the the That's
(14:45):
the other reason I'm doing black and white is because
there's so much confusion in pictures unless you want that.
But if you really want to focus on the on
the person, having all of that confusion slightly out of
focus and not in color, so you don't have a
color challenge. It's just about the person. So the person's
the kind of hero and on it. Mike could say
(15:07):
as well, Mike's always kind of with me, he's kind
of he's talking to the people. I think we're getting
better pictures, would you say that much? Yeah, I think
we're get we're getting much better pictures with using the digital,
partly because I can get them to kind of changes.
Speaker 4 (15:29):
Also, in a crowd.
Speaker 8 (15:32):
The five to four, I had to be quite a
way back, slightly longer lens, and it was very hard.
I had to take up a lot of the pavement.
On this, I can be a little bit closer. I
had to decide on the lens because I was, you know,
I was halfway through. I spent over six months on
the five to four. I thought it was going to
(15:53):
be temporary, but I don't think it will be now.
I think it's a kind of change, So I've got
to change all my kind of I've got to change this.
Speaker 4 (16:00):
This say it's a vintage plate camera.
Speaker 7 (16:04):
I think the one thing that has been lost is
that the plate camera itself was a draw. People would
sort of be attracted to it because it was like
an event on the street.
Speaker 5 (16:13):
Now we're much more sort of.
Speaker 7 (16:14):
Low key, laid back, and the camera itself doesn't pull
people in. I mean, it was like bees around a
honeypop with the big play camera. They would say, what the.
Speaker 5 (16:22):
Fuck is that? What you're doing? All that kind of
stuff that doesn't happen now.
Speaker 8 (16:25):
Especially, I had to get higher on that because I
had a trolley. It's like I had a box and
on Builder's box on wheels that I would climb up
to get the hike because I'm looking the platform down platform,
and so you are above the crowd. And like during
during the Gay Pride March, I was at the front.
There's all the press, but everybody they all wanted to
(16:48):
be photographed on this camera. And I think some of
the press were getting it pissed off with me with
this big slow camera and they wanted to get the
start Pride March going. We're right at the front and
people kept on queue, almost queueing to be photographed.
Speaker 4 (17:02):
But and that's I was.
Speaker 8 (17:03):
A bit worried would it be different on the digital
But I think in the end i've I can still
it fits my personality. I quite like talking to people,
and a lot of it is the.
Speaker 2 (17:17):
Chat photography projects of journeys.
Speaker 1 (17:20):
They evolve in different ways than do you feel now
you're still trying to get the five four shot at the.
Speaker 8 (17:27):
Beginning, I'm still trying to get the formality of I'm
still getting h I'm still trying to get the formality
of the five for.
Speaker 1 (17:34):
It's a backup for the again product. Just because you're
going to sing a real are you going to say
a real transition?
Speaker 2 (17:40):
Of the types of picture, not at all.
Speaker 4 (17:42):
I did a test.
Speaker 8 (17:44):
I was really undecided, so I rented, I borrowed one
of Jonathan Olly and made in mind and just to see,
and I did a test. I showed, because you know
a lot of photo say oh, there's nothing like real film,
as I said, okay, and I put out four pictures.
I said, two of them are on the five four.
Two of them are on this new camera. And I
(18:06):
said which, And they said, oh, it's obvious that one
and that one's five fourth.
Speaker 2 (18:10):
It wasn't. It was the The quality of this.
Speaker 3 (18:13):
Camera is just wonderful.
Speaker 2 (18:16):
It's creamy.
Speaker 8 (18:17):
You don't get you don't and I shoot it a
slow shutter, so often I need to be on it.
Speaker 4 (18:22):
Because there I was wedging myself in.
Speaker 8 (18:24):
But it's got one of these sensors that can when
you when you jogger in your hands.
Speaker 4 (18:31):
It's it stills the picture that helps.
Speaker 8 (18:35):
But usually on a tripod, I'm shooting one hundred ASA,
so it's kind of I need to be on a
tripod often.
Speaker 2 (18:43):
What's a camera.
Speaker 8 (18:44):
It's a it's a Fuji one hundred megapixel. It's medium format.
Speaker 2 (18:50):
Everybody's talking about that.
Speaker 4 (18:52):
It's absolutely amazing.
Speaker 7 (18:54):
We're more mobile with this, we can more quickly, we
can switch locations much more quickly with this, and you
can hand holders.
Speaker 5 (19:00):
Couldn't do that with the other one.
Speaker 2 (19:02):
That's right. It's interesting as well.
Speaker 1 (19:03):
It's almost affordable because, like you didn form my digital
ten years ago was thirty grinders, but.
Speaker 8 (19:10):
If you go to a shop you pay six for
the body. But if you just go you look around
online and get it for less foury four.
Speaker 4 (19:18):
Hundred it was.
Speaker 8 (19:19):
And then the lenses. I got both lenses second hand,
but like mint and I've just the only I actually
haven't used the other one, which is a zoom. It's
equivalent to a twenty four to fifty. Because I thought
if I because I like this so much, I thought, well,
(19:42):
I'd like to do The quality is so nice.
Speaker 1 (19:45):
What intrigues you about ford Rint because you for a
long time did the White Tank project.
Speaker 2 (19:51):
Yeah, and that was very sort of isolated. It was
white screen in a tent and you would capture it
would be a capturing them with.
Speaker 8 (20:00):
I think with the white tent, you know, I was
involved with the kind of like slightly wildside of glassery
and I just wanted to kind of calm it down
and control, get the people to pop out from the
costumes because everyone's going men in dresses kind of totally crazy.
I thought, okay, the white tent will create a formality,
(20:20):
and I think that was the same with the five
to four, and then I took the white tent. I
did a thing for The Guardian for a while where
I took the white tent to different places. Trouble with
the white tent in Glastonbury is when everybody's kind of
off their faces and you've got all this lighting equipment
and it's raining. You end up like a shopkeeper, you know,
(20:41):
so no more in the here, please. And I had
a bag full of drugs that people always took their
jackets off and dropped their drugs.
Speaker 2 (20:48):
So I had this basket.
Speaker 8 (20:49):
Help yourself because everybody was And it was hopeless forgetting
the stories because people, yeah, you know, you try to
get them to say something and they had nothing to
say because they're so off their faces. So it was
a failure for a social documentation that the people's lives
because they couldn't speak.
Speaker 2 (21:10):
There were business stories.
Speaker 4 (21:11):
Oh very yeah, really really important.
Speaker 2 (21:13):
So this is where you.
Speaker 8 (21:14):
Know Mike's I'm always moaning might because I always want more,
and I'm mona is handwriting, but the stories are so
important and what's good.
Speaker 4 (21:28):
Is having the email.
Speaker 8 (21:30):
I then have a dialogue afterwards, and I reckon only
about one in five, one in maybe one in four
will get into the final thing, so a lot of them.
Speaker 2 (21:43):
Won't be used big.
Speaker 4 (21:45):
So that's an issue with the book.
Speaker 8 (21:47):
When I when I did the portraits, I did this
book with Fox and Mini Press on Miami Beach where
I did loads of portraits and I did the same
type of thing talk to people.
Speaker 4 (21:56):
I had a mate that.
Speaker 2 (21:58):
Talk to them as well. We had a real problem.
Speaker 8 (22:01):
Some of the stories were great, which took up a
kind of half a page. Some of the some people
had nothing to say, and it's a real problem that
and for this set. Sometimes it's a great picture, but
they haven't really got a great story.
Speaker 4 (22:16):
So I think in the I'm.
Speaker 7 (22:18):
Always thinking about the booty a rotten picture, never a
rotten picture picture.
Speaker 8 (22:25):
But yeah, and it's so I think in the book form,
I think what I'm going to do is have enough
border so there can be if there's not much to say,
there will just be who and where, and often having
face pictures facing them those ones and then when it's
(22:46):
someone's got something to say, there'll be the picture and
a kind of lump of text facing, so that will
also help create the rhythm of theo's the title intersections intersections.
It's the intersections.
Speaker 5 (23:03):
With the interviewing. The text.
Speaker 7 (23:05):
Production has changed because when we first began it was
quite scripted. We had particular questions, but specific areas that
we would interrogo we'd drilled down with in a way.
Speaker 5 (23:15):
It's more organic. Now it's more it's more free flowing.
Speaker 7 (23:18):
Now we've moved away from those boxes, those categories that
we were.
Speaker 4 (23:22):
It was a lot more about London, was it?
Speaker 5 (23:24):
Why you hear? What do you feel about it? Hows
it changed?
Speaker 7 (23:27):
Has it changed a lot in the short time or
other than the years you've been living in all that
kind of stuff.
Speaker 5 (23:33):
We don't do that so much now.
Speaker 8 (23:34):
No, it was starting to sound a little bit like
a pr thing for London and they all say the
same time, Oh, we love it here, so different, multicultural,
all of that stuff. Now it's much more about them,
and that that's harder to get. But people, it's that
it's that trust thing, isn't it just by once they
(23:54):
say yes, look, there's a great picture.
Speaker 4 (23:57):
Those people with there, Let's let's try it.
Speaker 2 (23:58):
Let's go on, let's go from that. Things were spotted.
Watch the van. Watch the man. I'm gonna get knocked over.
Now he's running.
Speaker 1 (24:16):
He's spotted a couple with a pushchair. He's just run
over to the Woody's camera and we're following. I'm just
walking down Fritz Street still I've got a Christmas tree
in a pushchair.
Speaker 3 (24:36):
Everybody gets you get a picture.
Speaker 4 (24:39):
It's just I just thought that's what caught my eye.
Speaker 3 (24:42):
I haven't got any kind of Christmas shots.
Speaker 8 (24:44):
Yeah, if that's what you're you kill him that So
you've got to hide it somewhere.
Speaker 4 (24:52):
Barry, this is.
Speaker 6 (24:57):
Michael, and this is who's happening.
Speaker 3 (25:02):
It's nothing this is to do with it is to do.
He's doing a story of me doing.
Speaker 2 (25:07):
This portrait, little project.
Speaker 8 (25:09):
Do you want to stop?
Speaker 4 (25:10):
And of the No, that's party.
Speaker 3 (25:12):
You can obviously see you've been shopping. What's your name?
Speaker 1 (25:20):
So I'm just going to step back a little. And
it's just they're just interacting with them. There's a baby,
just a simple, very young toddler.
Speaker 3 (25:34):
Here is here is good.
Speaker 2 (25:35):
But the couple with.
Speaker 1 (25:38):
A pushchair with a massive well not a massive Christmas tree,
but but a Christmas tree. Step is just talking to
them and trying to arrange the photograph while Mike's sail
in the background, chacking noughts and things like that, going
to jumping.
Speaker 3 (25:55):
Try to put that.
Speaker 6 (25:58):
Oh it's there. You're gonna put it in the book
for something.
Speaker 8 (26:04):
Yeah, well what I I've already been offered an exhibition,
but I'd like it as a book because then I
can have a little stories of people, because it's about
London and the peak, because London is about the people.
It's just so colorful, right, yeah, but it's black and
white pictures.
Speaker 4 (26:29):
Right, let's have a look.
Speaker 3 (26:32):
It could be like an advert for an M and S.
Speaker 4 (26:34):
There's a big MNS.
Speaker 3 (26:40):
I can always retouch them out. Actually, actually that's better
the other.
Speaker 6 (26:44):
Way because that looks.
Speaker 2 (26:45):
Just rearrange in the bar.
Speaker 3 (26:49):
If there's a.
Speaker 4 (26:50):
Word, it catches. Now I'm gonna have to do horizontal.
Speaker 8 (26:55):
Give me one secont change the.
Speaker 1 (27:04):
Getting some personal information, right, So I'm just changing mine.
Speaker 8 (27:11):
I don't normally do horizontal, but this is gonna be
a horizontal.
Speaker 2 (27:17):
There we go, strange.
Speaker 4 (27:21):
Tripod and one hundred U s A and focus right,
I'm gonna get sorry, that's that's lovely.
Speaker 3 (27:31):
Sorry, I'm always apologize.
Speaker 5 (27:35):
That's nice.
Speaker 4 (27:36):
Hello, let's get you all in. Yeah, oh, that's lovely.
Speaker 3 (27:47):
I'm sorry to do a nuisance.
Speaker 2 (27:52):
Sorry, what held?
Speaker 4 (27:56):
No, she looks good like that.
Speaker 3 (28:02):
That's yeah, that's exactly, that's it.
Speaker 4 (28:06):
Look at this looking this way?
Speaker 5 (28:14):
Interesting?
Speaker 4 (28:16):
Can you see the frog?
Speaker 3 (28:18):
See the frog?
Speaker 8 (28:21):
And if you're all looking straight to camera, please sorry,
have your your hat back a little. Just sorry. It's
just the shadow was a bit much on your eyes.
That's perfect.
Speaker 6 (28:33):
Perfect.
Speaker 8 (28:40):
If you all come back way in to push the
prim it's just so she's not so close to the side.
I don't want any okay, never photograph.
Speaker 4 (28:58):
I'll do that.
Speaker 6 (28:59):
That's it, you know, I'll go in.
Speaker 2 (29:01):
The child's having a little bit of a fit. Get
you all in. Let me just.
Speaker 11 (29:17):
The frog.
Speaker 4 (29:19):
Look, here's the frog. Great? Great, okay, one not too
not quite so smart.
Speaker 3 (29:30):
Let's that's it? Good, that's nice.
Speaker 6 (29:33):
I'm just getting fire escape peet clear.
Speaker 3 (29:36):
That's all right, that's good that. I'm just gonna get
that out of a shot. Perfect. Sorry to be a nuisance.
Speaker 2 (29:43):
Nothing's coming, is it?
Speaker 8 (29:45):
So many times I get run down?
Speaker 5 (29:49):
Hello?
Speaker 6 (29:50):
Look, actually, can.
Speaker 3 (30:00):
Try standing at you.
Speaker 4 (30:01):
That's nice. Hello, hello frog.
Speaker 2 (30:14):
I'll just check all right, you're.
Speaker 6 (30:19):
Back in.
Speaker 2 (30:22):
Yeah, I suppose not showing in the pictures.
Speaker 3 (30:29):
That's that way.
Speaker 6 (30:30):
That was nice.
Speaker 4 (30:32):
That's a nice that's a nice one.
Speaker 3 (30:35):
That's a lovely pitch.
Speaker 8 (30:36):
Sorry, can't look that.
Speaker 4 (30:40):
That's a lovely pitch.
Speaker 3 (30:48):
Oh, you've got a lovely laugh. And I like that one.
How works, I've got four Oh my god.
Speaker 9 (30:58):
It's like I just.
Speaker 5 (31:02):
I mean, we're working and.
Speaker 4 (31:05):
It's kind of how it works. No one knows until
you do it.
Speaker 7 (31:10):
And I was like, I actually went back to work
when he was for months.
Speaker 5 (31:14):
I was like, I can't be your mom like a
full time.
Speaker 2 (31:19):
This the frog.
Speaker 1 (31:23):
So Barry is still interacting with the family and like
taking all the details, getting some storylines, just getting some
courts and stuff like that, while Barry just enter chains
and I think there's a nice interaction there, and I
think we the case deeply about his interactions with the
public as well.
Speaker 2 (31:42):
As I said, this camera has given him a much
more for freedom to interact.
Speaker 1 (31:48):
With with with this subject.
Speaker 9 (31:57):
He's still.
Speaker 6 (32:00):
It's fun.
Speaker 1 (32:01):
Just before Christmas, so I'm going to leave those two
with the family. It's really interesting seeing Barry working and
he's on the front line. He's out on the street
making the project, following his ideas, his dreams. He's a photographer.
(32:23):
He's hungry to take pictures. And it's amazing and really
interesting to see how other photographers work. And we're all similar,
We're all really like to interact with people. It's really
interesting and it's been real privilege being a neutral watching
another photographer work.
Speaker 2 (32:44):
I love doing this. I love watching.
Speaker 1 (32:45):
Other people working with the same aspirations and ambitions and
ideas and energy to create things and do things and
photograph people and places and long made continue.
Speaker 6 (33:05):
And so I've told you very much, thank you very much.
Speaker 3 (33:09):
I'll send you. I'll send you the pictures within a week.
And they're always black and whites of this color, so
I could do.
Speaker 2 (33:17):
I think it looks How do you think that one?
Speaker 5 (33:19):
How were I think of it?
Speaker 7 (33:21):
While I was I was a bit surprised that Barry
picked them because they weren't for me an obvious portrait subject.
Speaker 5 (33:27):
But I think it's going to work.
Speaker 7 (33:29):
They were very responsive, They're very easy to be to
be spoken to, and they were very happy to give
out information. Nothing dramatic there. They're just here on a
Christmas shopping trick from Tottenham. What's interesting is that is
the sort of the cultural mix. She's from Belarus, he's
from Hong Kong. He's been here forty years. She's been
here fifteen years. And they seem very relaxing and very comfortable,
(33:54):
and it's nice to get a family pick that's we have.
We we did some back in the summer during the
jubilee celebrations, but we haven't really done any families since then,
and Christmas time is an obvious time and this one.
Speaker 5 (34:08):
Has kind of been waiting to happen.
Speaker 7 (34:09):
You know that we were out on the streets near
Christmas and we've got a family, which is good, and
they've got a Christmas trip and what's you know, what's
not to like.
Speaker 1 (34:17):
I can see Barry's got a real connection now with
the yeah, really having a deep conversation.
Speaker 5 (34:23):
What's the woman, Well, there's.
Speaker 7 (34:26):
They've got Well, there's a there's an there's a shared
background interest there that she Barry's done film work.
Speaker 5 (34:32):
She's working in the cartoon.
Speaker 7 (34:34):
Industry with Warner Brothers, so you know there's a connection there.
Speaker 2 (34:41):
Her husband's looking lord now years and I.
Speaker 7 (34:43):
I've and cold as well, you know they've done the shopping.
Speaker 1 (34:47):
How long does the shoe and you normally take like this, Well,
it depends how long Barry getting.
Speaker 5 (34:54):
There's just a couple of things.
Speaker 7 (34:55):
If there's one is whether the people are in a
desperate hurry to keep going because they're on their way
somewhere and maybe they're cold, maybe they're hungry, they've got
a child.
Speaker 5 (35:05):
It's probably all she can take. He can take. The
shoot itself takes about five minutes.
Speaker 7 (35:13):
The interview, I mean, this chat is it's not untypical.
Speaker 2 (35:18):
What have you got? What details did you go?
Speaker 5 (35:21):
I've got their approximately where where they're, where they're where.
Speaker 7 (35:26):
They're from, where they're living now, why they're here, what
they do professionally, the number of what they're Neither of
them are born in the UK, so I've got the
number of years in the UK.
Speaker 5 (35:39):
I think that's pretty much it.
Speaker 2 (35:40):
Really.
Speaker 7 (35:42):
I don't there's nothing there that suggested I should sort
of drill down any further.
Speaker 5 (35:45):
You know, there's no sort.
Speaker 2 (35:46):
Of I don't know, unusual.
Speaker 5 (35:51):
Path journey to here.
Speaker 7 (35:53):
It seems fairly conventional other than the fact that they're
neither of them were born in the UK, but they
obviously come together, very comfortable. They've built a life here,
they've got a family and the around here Christmas shopping.
I mean the other one that was earlier this morning,
we did someone who.
Speaker 5 (36:10):
Can I put it, I'd had a really rough ride.
Speaker 7 (36:13):
He's sort of had a drink problem, had been homeless,
has been thrown out by his wife, was divorced at
the same time.
Speaker 5 (36:22):
He's also a musician.
Speaker 7 (36:23):
He'd been in a mental institution somehow rehabilitated himself. You know,
you get that kind of rich mix of stuff, but
not here. This is a conventional family to a point.
So I mean there was what I Sometimes you get
people who just want to, you know, just can't. They say,
I've got things to tell you, I'm not going to
tell you, and you fill up, you know, you fill
(36:44):
your notebook.
Speaker 5 (36:45):
Other people you think there's not much worth. There isn't much. Really,
there's no.
Speaker 7 (36:50):
Point in continuing to drill down because you've got pretty
much what they're going to tell you.
Speaker 5 (36:55):
I don't know what Barrison about now.
Speaker 7 (37:00):
I think it's never let her go because the kids
getting a bit rested exactly, but they're being very good.
Speaker 5 (37:08):
I'm not sure where I should be getting this stuff.
Speaker 4 (37:09):
Down.
Speaker 5 (37:10):
I'm going to.
Speaker 6 (37:15):
Thank you very very much. Thank you if you need
thank you today.
Speaker 11 (37:41):
We know today that's a deliviate parent, hard time, brilliant, Okay, success.
Speaker 4 (37:52):
I've got a nice picture.
Speaker 5 (37:54):
You did the whole time, did you? Because you got
I'm going I saw it on the screen, have a
lot of background.
Speaker 3 (38:00):
I'm well because I needed the background on the I.
Speaker 4 (38:05):
Mean, there's one where he's falling apart hang with a kid.
I quite I kind of like that one.
Speaker 8 (38:10):
I'd probably crop it a bit, but I think that
one's a bit kind of a bit boring.
Speaker 7 (38:18):
He didn't do any sort of mid shots. That's all
kind of full leg shots with a lot of background.
Speaker 5 (38:25):
I can't really tell from the faces. I need to
get my glasses on.
Speaker 3 (38:28):
There's that many pictures. I did you know I did that.
Speaker 5 (38:33):
That's a close up.
Speaker 8 (38:34):
But I think the fact that I like the fact
that the that the kids you got his name, didn't you.
Speaker 5 (38:41):
Yeah, it's rene.
Speaker 4 (38:43):
I like the fact that he's trying to escape all
the time, and.
Speaker 5 (38:46):
That's that's good. I like that I saw that.
Speaker 8 (38:49):
I mean, so they're trying to pose and he's just
pulling away. He's pulling away.
Speaker 5 (38:55):
Hopefully didn't get away.
Speaker 2 (38:56):
You know.
Speaker 5 (38:56):
That's good. That works. I can see why he did that.
Speaker 2 (39:00):
Success.
Speaker 3 (39:01):
Great.
Speaker 2 (39:03):
Well, I'm going to leave you too. Boys.
Speaker 1 (39:04):
Well done and well I'm tell you what, say goodbye?
Speaker 3 (39:16):
Where are you going to?
Speaker 4 (39:17):
You can sell, you can cut there anyway.
Speaker 2 (39:22):
Mm hmmm
Hi, i'maach waters and welcome to another episode of What
They Get Stop podcast Frontline Reporting, where chatter photographers who
are on the frontline of news, world events, or creating
long term bodies of work. Welcome to episode two of
(00:26):
Frontline Reporting. There's been a long time coming, but I'm
really delighted to eventually catch up with photo journalists and
filmmaker Barry Lewis, who is currently out there on the
street creating a new body of work which I found
out in our chat was entitled Intersection in Brief. Early
on in his career, he was a staff photographer with
Vogue magazine, his work for National Geographic and Life magazine,
(00:46):
and nineteen eighty one he co founded Network Photographers. He
won the World Press for his Romania After the Revolution series.
He's published over ten books and zines, and in particular,
his two caffee roll books entitled Albeit You in Isolation
and nineteen ninety and I'll Baying There and Transition in
nineteen ninety one are my all time favorite coffee roll books.
The work is, for me stupendous, It's beautiful, it's got everything.
Speaker 2 (01:10):
As far as I'm concerned.
Speaker 1 (01:11):
You get a chance, you can go on by his
website or the Coffee road Book website and check him out.
So I've been talking to bout it for a while
about coming out and catching and working on the streets,
and eventually I knew he was out in London. I
knew he was in so Home, so I thought, I'm
going to go find him. So I went out looking
for him, and I found him. So I'm on the
junction of or Comic Street, kind of Fifth Street, and
walking around so Home looking for the elusive Baryears. But
(01:36):
I think it's just spotted me. Hello, mate, good to
see you. Just would you go on a coffee?
Speaker 2 (01:43):
No, I'm fine for that. Actually, who are you with?
Speaker 3 (01:47):
I've just this guy I'm going to do that?
Speaker 2 (01:55):
Hello am I Hello, I'm.
Speaker 4 (01:58):
As a go.
Speaker 2 (02:00):
Well went on to do a lot of technical stuff
as I just photographed you, not just.
Speaker 4 (02:05):
As he's getting a coffee.
Speaker 5 (02:08):
He was I'm working with Marrick. I thought you might
get join him, Mike.
Speaker 6 (02:13):
Zach Zach got it okay.
Speaker 1 (02:16):
So as I met Barry, he was in the middle
of photographing somebody for the project, and he was just
about to go into the coffee shop to buy coffee
for the person he was photographing for him and his
assistant Mike. As he was walking into the coffee shop,
he pointed orbit towards Mike and I headed for him
and I asked him some questions and as.
Speaker 7 (02:35):
Mike, I've known Barry for years, we were at university together.
Speaker 5 (02:42):
A couple of years.
Speaker 7 (02:43):
Well, no, about eighteen months ago he got in touch
and said did I want to give him a hand
working on his current project, which was going to be
meeting up with random strangers somewhere in London and he
was going to attempt to put together a series of
portraits that ultimately would go into a book providing and
(03:04):
the funding was going to be available.
Speaker 5 (03:06):
So the sort of the character the nature of the
project was.
Speaker 7 (03:09):
To explore.
Speaker 5 (03:13):
How people interacted in London and.
Speaker 2 (03:17):
Just to.
Speaker 7 (03:19):
Determine something about the character of their lives, why they
were where they were, why they were where they were,
how they felt about living in London, whether there had
been any changes that they'd noticed, either in a short
or long term, that kind of thing. And it's just
gone from there and it's been buried to determine the
(03:41):
locations we happened to be in Soho today, but it
could be in in Highbury, it could be in Hackney,
could be in Spitalfield's Market, it could be anywhere.
Speaker 1 (03:53):
Are there any people Barries looking out for? Was the
sort of I'll say that there's any particular people looking
out for.
Speaker 5 (04:02):
That's a good question, because.
Speaker 7 (04:05):
The nature of what we do is we stand and
we look around and we sort of we suggest to
each other who who we might choose as a possible
subject for a portrait.
Speaker 5 (04:16):
And I think if.
Speaker 7 (04:17):
There's a if there's if there's a a criteria that
we we we bring to the decision. It's basically, who
is going to look interesting as a as a portrait subject?
And then you get into interesting about what is interesting me?
But that's another that's a whole nother discussion.
Speaker 1 (04:35):
Who's going to make a picture? Yeah, how does it
normally work?
Speaker 7 (04:40):
It normally works that probably maybe sort of three to
four to one Barrier will make the choice, and then
he will for the most part, it's him that makes
the approach.
Speaker 5 (04:52):
He suggests. He goes along with his it's a it's
a little sort of promotional.
Speaker 7 (04:59):
Card that shows that the work that he's done already
and it explains the nature of the project that ultimately
it could end end up in a book. And the
trade off is that they the subject or potential subjects.
It's going to get a free picture. And for the
most part they say.
Speaker 2 (05:17):
Yes, and that's this card on the table.
Speaker 1 (05:20):
I must say we're actually sitting and I take knee
or on with Fritz Street at the minute, where is Barry?
Speaker 8 (05:25):
Now?
Speaker 2 (05:26):
Is he warming the streets?
Speaker 5 (05:27):
Barry is there now?
Speaker 2 (05:29):
All right? Now he's picked up a subject, hasn't he? Yes,
here we go.
Speaker 9 (05:33):
Who happened to be a singer just about any situation
would also feel you know.
Speaker 1 (05:39):
So I'm with moving over to towards where Barry is
now with somebody. I think he's aldy to take this
picture for the boss.
Speaker 2 (05:48):
Having a copy is just sort of taking for bridge,
contratting breath. We're going to jump in on it.
Speaker 4 (05:57):
Well whatever. See what what I found is when I.
Speaker 8 (06:01):
Was you know, I used to do most of my
photography was on the street, and I found that I
was all I was never talking to people. I was
always kind of like a hunter, and you could make
great pictures, but you never saw them again. And you know,
depending on the context can change everything.
Speaker 9 (06:19):
Well again, you don't if you if you don't know
who you're photographing and what that. You know, once you've
looked at it, you don't know who you've got, you know,
and it could be Boom or Buss, couldn't it.
Speaker 2 (06:30):
You know, you might have caught that moment that.
Speaker 4 (06:34):
A lot of it's about the moment rather than the person.
Speaker 6 (06:37):
But that's what I mean.
Speaker 9 (06:38):
It's that, it's that, you know, catching someone in the
act of doing something completely ordinary but looking amazing.
Speaker 6 (06:45):
You know, it's.
Speaker 9 (06:46):
You get that because we're really lucky.
Speaker 4 (06:50):
You know.
Speaker 9 (06:50):
It's London wal to eat you up, eat you up
if you if you let it. But it will also,
you know what I mean, embrace you like this place does.
Speaker 3 (06:59):
I came.
Speaker 9 (06:59):
I came up here specifically it's gonna sit here and
have a coffee. I was, I've gone to meet somebody
in hob and and and I thought I'm gonna go
and go and go and have a soho coffee and.
Speaker 2 (07:12):
That.
Speaker 4 (07:12):
But I knew I was gonna sit right here and
enjoy it.
Speaker 2 (07:18):
That's the thing, you know.
Speaker 8 (07:19):
He swing the chair around a little bit, sorry to
it's just round that way, a bit more rounds. That's
it even more, even more, it's just so I can
get the street in the background, rather than that's it.
Speaker 3 (07:31):
That's better. That's better than I can get the street.
Speaker 1 (07:34):
So I'm just backing off nowadays, just rearrange the subject.
But he's got too so I think it's just like
this constant engagement. I guess when he sees somebody heel
gett him into his little footble. I didn't work with him,
and he's just like a good prawl that's what That's
what crawls do, trying to keep them as number as
(07:54):
we can work in a football.
Speaker 2 (07:57):
I think he's probably got a shot up the street
earlier and now it's just sort of into I think
that's part of it.
Speaker 4 (08:04):
Isn't what it is.
Speaker 2 (08:08):
It's good story right at store down. I'm going to
jump back in for me.
Speaker 4 (08:16):
It's that right so Lamb of God. And you know,
I think as a confirmation medal. I mean, I'm a Buddhist.
I was brought up a Catholic, but I had to change.
Speaker 10 (08:29):
I didn't ever watch it works still, buddy, Mama.
Speaker 4 (08:43):
Yeah, chanting Buddhist you're not charged for.
Speaker 9 (08:48):
You can well, no, it's chanting your chance for whatever
whatever it is that you need in order to raise
your life and if it's money, and that money is
going to be used in a way that was going
to raise your life and raise the lives of those
around you. If you just have money for money, yeah,
you can chant for that if you want. It's not
gonna bring your happiness and fulfillment.
Speaker 3 (09:08):
Focusing thing the chanting.
Speaker 4 (09:12):
Basically it is that you give your life over to.
Speaker 9 (09:17):
The wonderful law of cause and effect. Yeah, so you
and you, So you go right, show me the show
me the path and I'll follow it. And by that
sort of exchange with the universe, every time you take
the right right step the chanting and that the things
(09:38):
that come to you are an indication that you're actually
walking along the right the right path.
Speaker 4 (09:42):
So it's like a proof of practice. So yeah, you
can chant for money if that.
Speaker 9 (09:47):
If that's still he's going to.
Speaker 2 (09:51):
Any conversation, but I think what you as should you
just stuck in? Why talk? Remember the scab a.
Speaker 9 (10:00):
Complete obviously material. I use it to remind combat where
it's caught in the red and white spotty And he
looks good.
Speaker 2 (10:14):
Actually, other people.
Speaker 4 (10:18):
Can't find their center as well.
Speaker 2 (10:22):
You gifted with it.
Speaker 9 (10:25):
Being able to self audit but also be able to
see just behind the kind of the veil of what
other people are throwing out, So you have to you
can see someone's unhappy, but they're still being a see
you next Tuesday.
Speaker 8 (10:42):
You know.
Speaker 9 (10:43):
The responsible Buddhist thing to do is to see that
and try.
Speaker 4 (10:47):
I mean, you don't have to be you know, you
don't have to kind of you know, roll over and
let them know.
Speaker 9 (10:51):
You know, it's not Buddhism is not about about being
you know, all meek and holier than that.
Speaker 4 (10:57):
No, No, it's actually a respect.
Speaker 1 (10:59):
And so what started as a simple portrait session on
the street where Barry ended up as a very long
and in depth conversation sitting outside the coffee shop with
his subject and Barby was still taking pictures, and it
just went on for ages, and Barry was really immersed
and interacting and just finding out and talk to this chat.
(11:21):
So I'll just let it ride out and I managed
to start chatting to Barry about this project.
Speaker 8 (11:28):
If two of us are going with that, they are
going to be more scared than if One of the
things I found is just showing them a few pictures
from the thing I'm doing, is they usually say yes
because they look look nice.
Speaker 3 (11:42):
Did I give you a card?
Speaker 2 (11:44):
I don't think I can carry my chancefer, but.
Speaker 3 (11:47):
You don't have to.
Speaker 8 (11:48):
I'll tell you what I've got to I've seen him
one was on the table, so that's the thing that
that's my.
Speaker 4 (11:57):
Entry point.
Speaker 8 (11:59):
So I'm not actually going straight up to them with
the camera now I've got I might have the camera
on my shoulder, but this is unusual for me to handheld.
It's just I wanted to get in that corner and
get what do you normally do tripod up to see you? No,
not with the big camera. The people come, but often
Mike will stay by the camera and tripod and I'll
(12:20):
just go into the crowd.
Speaker 2 (12:24):
I thought you were shooting miss on a five four.
Speaker 4 (12:26):
I was to start half of it's on five four.
Speaker 8 (12:29):
But what's happened is it bustering the funeral and it's
really hard to get the parts it's insured.
Speaker 4 (12:37):
But I'm so loving this. I don't think I'm ever
going to go back.
Speaker 1 (12:42):
Well, I noticed when you were talking to that last
chop there was freedom that you've sort of had a
menu bubble and you were working.
Speaker 8 (12:49):
And you can get more images loads multituose from Low's
multitudes because when he's talking. He was doing doing that
which fitted with him Buddhists.
Speaker 4 (13:00):
I don't know, you know.
Speaker 8 (13:01):
So on the on the five file, I was only
shooting two pictures, usually either side, sometimes more if it
was assert but you know it's six quiitter shot. I
was processing at home. I'm then scanning onto the Immacon spotting.
Speaker 2 (13:22):
So as well as.
Speaker 8 (13:22):
Costing a lot, every day's work was about at least
two days two and a half days editing, scanning, editing,
spotting every bloody bit of dust. The scanners. The immicon
scanner's brilliant, but it shows.
Speaker 2 (13:38):
All the surface.
Speaker 8 (13:39):
And with this I can kind of come back straight
away and I get about ten variations in a sharp.
You've got to be careful you don't do too many.
And I also use it like a five for normally
on the trup. But I don't go to the eyepiece. Look,
I've just got the like the ground glass screen, and yeah,
(14:01):
that's that's important. I rely on the folk. The eye
focus is amazing on this. It picks up on the
eyes and it's not fast, but it once it gets it.
And today a couple of times it wasn't doing it.
Just then it I'm not sure what it is. I
think if you've got a lot of backlight, this can
be a problem.
Speaker 1 (14:20):
Did you feel that you were trying to sort of
emulate the five four when you move talk the couna.
Speaker 8 (14:24):
That's why I got that lens together, because what I
wanted was a shallow depth of field. So it's the person,
not the city, and there's there's a hint of the city,
but I don't want it to be obvious because I
find that nowadays the kind of the the the That's
(14:45):
the other reason I'm doing black and white is because
there's so much confusion in pictures unless you want that.
But if you really want to focus on the on
the person, having all of that confusion slightly out of
focus and not in color, so you don't have a
color challenge. It's just about the person. So the person's
the kind of hero and on it. Mike could say
(15:07):
as well, Mike's always kind of with me, he's kind
of he's talking to the people. I think we're getting
better pictures, would you say that much? Yeah, I think
we're get we're getting much better pictures with using the digital,
partly because I can get them to kind of changes.
Speaker 4 (15:29):
Also, in a crowd.
Speaker 8 (15:32):
The five to four, I had to be quite a
way back, slightly longer lens, and it was very hard.
I had to take up a lot of the pavement.
On this, I can be a little bit closer. I
had to decide on the lens because I was, you know,
I was halfway through. I spent over six months on
the five to four. I thought it was going to
(15:53):
be temporary, but I don't think it will be now.
I think it's a kind of change, So I've got
to change all my kind of I've got to change this.
Speaker 4 (16:00):
This say it's a vintage plate camera.
Speaker 7 (16:04):
I think the one thing that has been lost is
that the plate camera itself was a draw. People would
sort of be attracted to it because it was like
an event on the street.
Speaker 5 (16:13):
Now we're much more sort of.
Speaker 7 (16:14):
Low key, laid back, and the camera itself doesn't pull
people in. I mean, it was like bees around a
honeypop with the big play camera. They would say, what the.
Speaker 5 (16:22):
Fuck is that? What you're doing? All that kind of
stuff that doesn't happen now.
Speaker 8 (16:25):
Especially, I had to get higher on that because I
had a trolley. It's like I had a box and
on Builder's box on wheels that I would climb up
to get the hike because I'm looking the platform down platform,
and so you are above the crowd. And like during
during the Gay Pride March, I was at the front.
There's all the press, but everybody they all wanted to
(16:48):
be photographed on this camera. And I think some of
the press were getting it pissed off with me with
this big slow camera and they wanted to get the
start Pride March going. We're right at the front and
people kept on queue, almost queueing to be photographed.
Speaker 4 (17:02):
But and that's I was.
Speaker 8 (17:03):
A bit worried would it be different on the digital
But I think in the end i've I can still
it fits my personality. I quite like talking to people,
and a lot of it is the.
Speaker 2 (17:17):
Chat photography projects of journeys.
Speaker 1 (17:20):
They evolve in different ways than do you feel now
you're still trying to get the five four shot at the.
Speaker 8 (17:27):
Beginning, I'm still trying to get the formality of I'm
still getting h I'm still trying to get the formality
of the five for.
Speaker 1 (17:34):
It's a backup for the again product. Just because you're
going to sing a real are you going to say
a real transition?
Speaker 2 (17:40):
Of the types of picture, not at all.
Speaker 4 (17:42):
I did a test.
Speaker 8 (17:44):
I was really undecided, so I rented, I borrowed one
of Jonathan Olly and made in mind and just to see,
and I did a test. I showed, because you know
a lot of photo say oh, there's nothing like real film,
as I said, okay, and I put out four pictures.
I said, two of them are on the five four.
Two of them are on this new camera. And I
(18:06):
said which, And they said, oh, it's obvious that one
and that one's five fourth.
Speaker 2 (18:10):
It wasn't. It was the The quality of this.
Speaker 3 (18:13):
Camera is just wonderful.
Speaker 2 (18:16):
It's creamy.
Speaker 8 (18:17):
You don't get you don't and I shoot it a
slow shutter, so often I need to be on it.
Speaker 4 (18:22):
Because there I was wedging myself in.
Speaker 8 (18:24):
But it's got one of these sensors that can when
you when you jogger in your hands.
Speaker 4 (18:31):
It's it stills the picture that helps.
Speaker 8 (18:35):
But usually on a tripod, I'm shooting one hundred ASA,
so it's kind of I need to be on a
tripod often.
Speaker 2 (18:43):
What's a camera.
Speaker 8 (18:44):
It's a it's a Fuji one hundred megapixel. It's medium format.
Speaker 2 (18:50):
Everybody's talking about that.
Speaker 4 (18:52):
It's absolutely amazing.
Speaker 7 (18:54):
We're more mobile with this, we can more quickly, we
can switch locations much more quickly with this, and you
can hand holders.
Speaker 5 (19:00):
Couldn't do that with the other one.
Speaker 2 (19:02):
That's right. It's interesting as well.
Speaker 1 (19:03):
It's almost affordable because, like you didn form my digital
ten years ago was thirty grinders, but.
Speaker 8 (19:10):
If you go to a shop you pay six for
the body. But if you just go you look around
online and get it for less foury four.
Speaker 4 (19:18):
Hundred it was.
Speaker 8 (19:19):
And then the lenses. I got both lenses second hand,
but like mint and I've just the only I actually
haven't used the other one, which is a zoom. It's
equivalent to a twenty four to fifty. Because I thought
if I because I like this so much, I thought, well,
(19:42):
I'd like to do The quality is so nice.
Speaker 1 (19:45):
What intrigues you about ford Rint because you for a
long time did the White Tank project.
Speaker 2 (19:51):
Yeah, and that was very sort of isolated. It was
white screen in a tent and you would capture it
would be a capturing them with.
Speaker 8 (20:00):
I think with the white tent, you know, I was
involved with the kind of like slightly wildside of glassery
and I just wanted to kind of calm it down
and control, get the people to pop out from the
costumes because everyone's going men in dresses kind of totally crazy.
I thought, okay, the white tent will create a formality,
(20:20):
and I think that was the same with the five
to four, and then I took the white tent. I
did a thing for The Guardian for a while where
I took the white tent to different places. Trouble with
the white tent in Glastonbury is when everybody's kind of
off their faces and you've got all this lighting equipment
and it's raining. You end up like a shopkeeper, you know,
(20:41):
so no more in the here, please. And I had
a bag full of drugs that people always took their
jackets off and dropped their drugs.
Speaker 2 (20:48):
So I had this basket.
Speaker 8 (20:49):
Help yourself because everybody was And it was hopeless forgetting
the stories because people, yeah, you know, you try to
get them to say something and they had nothing to
say because they're so off their faces. So it was
a failure for a social documentation that the people's lives
because they couldn't speak.
Speaker 2 (21:10):
There were business stories.
Speaker 4 (21:11):
Oh very yeah, really really important.
Speaker 2 (21:13):
So this is where you.
Speaker 8 (21:14):
Know Mike's I'm always moaning might because I always want more,
and I'm mona is handwriting, but the stories are so
important and what's good.
Speaker 4 (21:28):
Is having the email.
Speaker 8 (21:30):
I then have a dialogue afterwards, and I reckon only
about one in five, one in maybe one in four
will get into the final thing, so a lot of them.
Speaker 2 (21:43):
Won't be used big.
Speaker 4 (21:45):
So that's an issue with the book.
Speaker 8 (21:47):
When I when I did the portraits, I did this
book with Fox and Mini Press on Miami Beach where
I did loads of portraits and I did the same
type of thing talk to people.
Speaker 4 (21:56):
I had a mate that.
Speaker 2 (21:58):
Talk to them as well. We had a real problem.
Speaker 8 (22:01):
Some of the stories were great, which took up a
kind of half a page. Some of the some people
had nothing to say, and it's a real problem that
and for this set. Sometimes it's a great picture, but
they haven't really got a great story.
Speaker 4 (22:16):
So I think in the I'm.
Speaker 7 (22:18):
Always thinking about the booty a rotten picture, never a
rotten picture picture.
Speaker 8 (22:25):
But yeah, and it's so I think in the book form,
I think what I'm going to do is have enough
border so there can be if there's not much to say,
there will just be who and where, and often having
face pictures facing them those ones and then when it's
(22:46):
someone's got something to say, there'll be the picture and
a kind of lump of text facing, so that will
also help create the rhythm of theo's the title intersections intersections.
It's the intersections.
Speaker 5 (23:03):
With the interviewing. The text.
Speaker 7 (23:05):
Production has changed because when we first began it was
quite scripted. We had particular questions, but specific areas that
we would interrogo we'd drilled down with in a way.
Speaker 5 (23:15):
It's more organic. Now it's more it's more free flowing.
Speaker 7 (23:18):
Now we've moved away from those boxes, those categories that
we were.
Speaker 4 (23:22):
It was a lot more about London, was it?
Speaker 5 (23:24):
Why you hear? What do you feel about it? Hows
it changed?
Speaker 7 (23:27):
Has it changed a lot in the short time or
other than the years you've been living in all that
kind of stuff.
Speaker 5 (23:33):
We don't do that so much now.
Speaker 8 (23:34):
No, it was starting to sound a little bit like
a pr thing for London and they all say the
same time, Oh, we love it here, so different, multicultural,
all of that stuff. Now it's much more about them,
and that that's harder to get. But people, it's that
it's that trust thing, isn't it just by once they
(23:54):
say yes, look, there's a great picture.
Speaker 4 (23:57):
Those people with there, Let's let's try it.
Speaker 2 (23:58):
Let's go on, let's go from that. Things were spotted.
Watch the van. Watch the man. I'm gonna get knocked over.
Now he's running.
Speaker 1 (24:16):
He's spotted a couple with a pushchair. He's just run
over to the Woody's camera and we're following. I'm just
walking down Fritz Street still I've got a Christmas tree
in a pushchair.
Speaker 3 (24:36):
Everybody gets you get a picture.
Speaker 4 (24:39):
It's just I just thought that's what caught my eye.
Speaker 3 (24:42):
I haven't got any kind of Christmas shots.
Speaker 8 (24:44):
Yeah, if that's what you're you kill him that So
you've got to hide it somewhere.
Speaker 4 (24:52):
Barry, this is.
Speaker 6 (24:57):
Michael, and this is who's happening.
Speaker 3 (25:02):
It's nothing this is to do with it is to do.
He's doing a story of me doing.
Speaker 2 (25:07):
This portrait, little project.
Speaker 8 (25:09):
Do you want to stop?
Speaker 4 (25:10):
And of the No, that's party.
Speaker 3 (25:12):
You can obviously see you've been shopping. What's your name?
Speaker 1 (25:20):
So I'm just going to step back a little. And
it's just they're just interacting with them. There's a baby,
just a simple, very young toddler.
Speaker 3 (25:34):
Here is here is good.
Speaker 2 (25:35):
But the couple with.
Speaker 1 (25:38):
A pushchair with a massive well not a massive Christmas tree,
but but a Christmas tree. Step is just talking to
them and trying to arrange the photograph while Mike's sail
in the background, chacking noughts and things like that, going
to jumping.
Speaker 3 (25:55):
Try to put that.
Speaker 6 (25:58):
Oh it's there. You're gonna put it in the book
for something.
Speaker 8 (26:04):
Yeah, well what I I've already been offered an exhibition,
but I'd like it as a book because then I
can have a little stories of people, because it's about
London and the peak, because London is about the people.
It's just so colorful, right, yeah, but it's black and
white pictures.
Speaker 4 (26:29):
Right, let's have a look.
Speaker 3 (26:32):
It could be like an advert for an M and S.
Speaker 4 (26:34):
There's a big MNS.
Speaker 3 (26:40):
I can always retouch them out. Actually, actually that's better
the other.
Speaker 6 (26:44):
Way because that looks.
Speaker 2 (26:45):
Just rearrange in the bar.
Speaker 3 (26:49):
If there's a.
Speaker 4 (26:50):
Word, it catches. Now I'm gonna have to do horizontal.
Speaker 8 (26:55):
Give me one secont change the.
Speaker 1 (27:04):
Getting some personal information, right, So I'm just changing mine.
Speaker 8 (27:11):
I don't normally do horizontal, but this is gonna be
a horizontal.
Speaker 2 (27:17):
There we go, strange.
Speaker 4 (27:21):
Tripod and one hundred U s A and focus right,
I'm gonna get sorry, that's that's lovely.
Speaker 3 (27:31):
Sorry, I'm always apologize.
Speaker 5 (27:35):
That's nice.
Speaker 4 (27:36):
Hello, let's get you all in. Yeah, oh, that's lovely.
Speaker 3 (27:47):
I'm sorry to do a nuisance.
Speaker 2 (27:52):
Sorry, what held?
Speaker 4 (27:56):
No, she looks good like that.
Speaker 3 (28:02):
That's yeah, that's exactly, that's it.
Speaker 4 (28:06):
Look at this looking this way?
Speaker 5 (28:14):
Interesting?
Speaker 4 (28:16):
Can you see the frog?
Speaker 3 (28:18):
See the frog?
Speaker 8 (28:21):
And if you're all looking straight to camera, please sorry,
have your your hat back a little. Just sorry. It's
just the shadow was a bit much on your eyes.
That's perfect.
Speaker 6 (28:33):
Perfect.
Speaker 8 (28:40):
If you all come back way in to push the
prim it's just so she's not so close to the side.
I don't want any okay, never photograph.
Speaker 4 (28:58):
I'll do that.
Speaker 6 (28:59):
That's it, you know, I'll go in.
Speaker 2 (29:01):
The child's having a little bit of a fit. Get
you all in. Let me just.
Speaker 11 (29:17):
The frog.
Speaker 4 (29:19):
Look, here's the frog. Great? Great, okay, one not too
not quite so smart.
Speaker 3 (29:30):
Let's that's it? Good, that's nice.
Speaker 6 (29:33):
I'm just getting fire escape peet clear.
Speaker 3 (29:36):
That's all right, that's good that. I'm just gonna get
that out of a shot. Perfect. Sorry to be a nuisance.
Speaker 2 (29:43):
Nothing's coming, is it?
Speaker 8 (29:45):
So many times I get run down?
Speaker 5 (29:49):
Hello?
Speaker 6 (29:50):
Look, actually, can.
Speaker 3 (30:00):
Try standing at you.
Speaker 4 (30:01):
That's nice. Hello, hello frog.
Speaker 2 (30:14):
I'll just check all right, you're.
Speaker 6 (30:19):
Back in.
Speaker 2 (30:22):
Yeah, I suppose not showing in the pictures.
Speaker 3 (30:29):
That's that way.
Speaker 6 (30:30):
That was nice.
Speaker 4 (30:32):
That's a nice that's a nice one.
Speaker 3 (30:35):
That's a lovely pitch.
Speaker 8 (30:36):
Sorry, can't look that.
Speaker 4 (30:40):
That's a lovely pitch.
Speaker 3 (30:48):
Oh, you've got a lovely laugh. And I like that one.
How works, I've got four Oh my god.
Speaker 9 (30:58):
It's like I just.
Speaker 5 (31:02):
I mean, we're working and.
Speaker 4 (31:05):
It's kind of how it works. No one knows until
you do it.
Speaker 7 (31:10):
And I was like, I actually went back to work
when he was for months.
Speaker 5 (31:14):
I was like, I can't be your mom like a
full time.
Speaker 2 (31:19):
This the frog.
Speaker 1 (31:23):
So Barry is still interacting with the family and like
taking all the details, getting some storylines, just getting some
courts and stuff like that, while Barry just enter chains
and I think there's a nice interaction there, and I
think we the case deeply about his interactions with the
public as well.
Speaker 2 (31:42):
As I said, this camera has given him a much
more for freedom to interact.
Speaker 1 (31:48):
With with with this subject.
Speaker 9 (31:57):
He's still.
Speaker 6 (32:00):
It's fun.
Speaker 1 (32:01):
Just before Christmas, so I'm going to leave those two
with the family. It's really interesting seeing Barry working and
he's on the front line. He's out on the street
making the project, following his ideas, his dreams. He's a photographer.
(32:23):
He's hungry to take pictures. And it's amazing and really
interesting to see how other photographers work. And we're all similar,
We're all really like to interact with people. It's really
interesting and it's been real privilege being a neutral watching
another photographer work.
Speaker 2 (32:44):
I love doing this. I love watching.
Speaker 1 (32:45):
Other people working with the same aspirations and ambitions and
ideas and energy to create things and do things and
photograph people and places and long made continue.
Speaker 6 (33:05):
And so I've told you very much, thank you very much.
Speaker 3 (33:09):
I'll send you. I'll send you the pictures within a week.
And they're always black and whites of this color, so
I could do.
Speaker 2 (33:17):
I think it looks How do you think that one?
Speaker 5 (33:19):
How were I think of it?
Speaker 7 (33:21):
While I was I was a bit surprised that Barry
picked them because they weren't for me an obvious portrait subject.
Speaker 5 (33:27):
But I think it's going to work.
Speaker 7 (33:29):
They were very responsive, They're very easy to be to
be spoken to, and they were very happy to give
out information. Nothing dramatic there. They're just here on a
Christmas shopping trick from Tottenham. What's interesting is that is
the sort of the cultural mix. She's from Belarus, he's
from Hong Kong. He's been here forty years. She's been
here fifteen years. And they seem very relaxing and very comfortable,
(33:54):
and it's nice to get a family pick that's we have.
We we did some back in the summer during the
jubilee celebrations, but we haven't really done any families since then,
and Christmas time is an obvious time and this one.
Speaker 5 (34:08):
Has kind of been waiting to happen.
Speaker 7 (34:09):
You know that we were out on the streets near
Christmas and we've got a family, which is good, and
they've got a Christmas trip and what's you know, what's
not to like.
Speaker 1 (34:17):
I can see Barry's got a real connection now with
the yeah, really having a deep conversation.
Speaker 5 (34:23):
What's the woman, Well, there's.
Speaker 7 (34:26):
They've got Well, there's a there's an there's a shared
background interest there that she Barry's done film work.
Speaker 5 (34:32):
She's working in the cartoon.
Speaker 7 (34:34):
Industry with Warner Brothers, so you know there's a connection there.
Speaker 2 (34:41):
Her husband's looking lord now years and I.
Speaker 7 (34:43):
I've and cold as well, you know they've done the shopping.
Speaker 1 (34:47):
How long does the shoe and you normally take like this, Well,
it depends how long Barry getting.
Speaker 5 (34:54):
There's just a couple of things.
Speaker 7 (34:55):
If there's one is whether the people are in a
desperate hurry to keep going because they're on their way
somewhere and maybe they're cold, maybe they're hungry, they've got
a child.
Speaker 5 (35:05):
It's probably all she can take. He can take. The
shoot itself takes about five minutes.
Speaker 7 (35:13):
The interview, I mean, this chat is it's not untypical.
Speaker 2 (35:18):
What have you got? What details did you go?
Speaker 5 (35:21):
I've got their approximately where where they're, where they're where.
Speaker 7 (35:26):
They're from, where they're living now, why they're here, what
they do professionally, the number of what they're Neither of
them are born in the UK, so I've got the
number of years in the UK.
Speaker 5 (35:39):
I think that's pretty much it.
Speaker 2 (35:40):
Really.
Speaker 7 (35:42):
I don't there's nothing there that suggested I should sort
of drill down any further.
Speaker 5 (35:45):
You know, there's no sort.
Speaker 2 (35:46):
Of I don't know, unusual.
Speaker 5 (35:51):
Path journey to here.
Speaker 7 (35:53):
It seems fairly conventional other than the fact that they're
neither of them were born in the UK, but they
obviously come together, very comfortable. They've built a life here,
they've got a family and the around here Christmas shopping.
I mean the other one that was earlier this morning,
we did someone who.
Speaker 5 (36:10):
Can I put it, I'd had a really rough ride.
Speaker 7 (36:13):
He's sort of had a drink problem, had been homeless,
has been thrown out by his wife, was divorced at
the same time.
Speaker 5 (36:22):
He's also a musician.
Speaker 7 (36:23):
He'd been in a mental institution somehow rehabilitated himself. You know,
you get that kind of rich mix of stuff, but
not here. This is a conventional family to a point.
So I mean there was what I Sometimes you get
people who just want to, you know, just can't. They say,
I've got things to tell you, I'm not going to
tell you, and you fill up, you know, you fill
(36:44):
your notebook.
Speaker 5 (36:45):
Other people you think there's not much worth. There isn't much. Really,
there's no.
Speaker 7 (36:50):
Point in continuing to drill down because you've got pretty
much what they're going to tell you.
Speaker 5 (36:55):
I don't know what Barrison about now.
Speaker 7 (37:00):
I think it's never let her go because the kids
getting a bit rested exactly, but they're being very good.
Speaker 5 (37:08):
I'm not sure where I should be getting this stuff.
Speaker 4 (37:09):
Down.
Speaker 5 (37:10):
I'm going to.
Speaker 6 (37:15):
Thank you very very much. Thank you if you need
thank you today.
Speaker 11 (37:41):
We know today that's a deliviate parent, hard time, brilliant, Okay, success.
Speaker 4 (37:52):
I've got a nice picture.
Speaker 5 (37:54):
You did the whole time, did you? Because you got
I'm going I saw it on the screen, have a
lot of background.
Speaker 3 (38:00):
I'm well because I needed the background on the I.
Speaker 4 (38:05):
Mean, there's one where he's falling apart hang with a kid.
I quite I kind of like that one.
Speaker 8 (38:10):
I'd probably crop it a bit, but I think that
one's a bit kind of a bit boring.
Speaker 7 (38:18):
He didn't do any sort of mid shots. That's all
kind of full leg shots with a lot of background.
Speaker 5 (38:25):
I can't really tell from the faces. I need to
get my glasses on.
Speaker 3 (38:28):
There's that many pictures. I did you know I did that.
Speaker 5 (38:33):
That's a close up.
Speaker 8 (38:34):
But I think the fact that I like the fact
that the that the kids you got his name, didn't you.
Speaker 5 (38:41):
Yeah, it's rene.
Speaker 4 (38:43):
I like the fact that he's trying to escape all
the time, and.
Speaker 5 (38:46):
That's that's good. I like that I saw that.
Speaker 8 (38:49):
I mean, so they're trying to pose and he's just
pulling away. He's pulling away.
Speaker 5 (38:55):
Hopefully didn't get away.
Speaker 2 (38:56):
You know.
Speaker 5 (38:56):
That's good. That works. I can see why he did that.
Speaker 2 (39:00):
Success.
Speaker 3 (39:01):
Great.
Speaker 2 (39:03):
Well, I'm going to leave you too. Boys.
Speaker 1 (39:04):
Well done and well I'm tell you what, say goodbye?
Speaker 3 (39:16):
Where are you going to?
Speaker 4 (39:17):
You can sell, you can cut there anyway.
Speaker 2 (39:22):
Mm hmmm
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