00:00:21.680 --> 00:00:22.720
- [Voiceover] Diplomacy
goes by the board,

00:00:26.840 --> 00:00:28.480
and the story of the
fair itself is eclipsed

00:00:28.640 --> 00:00:30.680
by a crackling exchange
between Nixon and Khrushchev,

00:00:30.840 --> 00:00:34.080
begun off camera, and
finished off before

00:00:34.240 --> 00:00:36.840
the American Ampex color
videotape recorders.

00:00:36.999 --> 00:00:39.920
Every aspect of the Cold
War and Soviet-American

00:00:39.999 --> 00:00:42.280
rivalry is argued in blunt
and forthright terms.

00:00:42.440 --> 00:00:45.920
The threat of atomic
warfare, diplomacy--

00:00:45.999 --> 00:00:48.560
(upbeat, inspirational music)

00:00:51.999 --> 00:00:53.240
- Contact sheets show
how you think visually,

00:00:57.040 --> 00:00:59.360
and they're very interesting
from that point of view.

00:00:59.520 --> 00:01:01.560
If you see contact
sheets of really good

00:01:01.720 --> 00:01:02.999
photographers, you can
learn a great deal.

00:01:03.000 --> 00:01:05.999
The contact sheets of
Henri Cartier-Bresson,

00:01:06.120 --> 00:01:08.080
if he would have
allowed you to see them,

00:01:08.240 --> 00:01:11.520
of course he didn't
when he was alive,

00:01:11.680 --> 00:01:14.760
you could learn a lot,
and other photographers

00:01:14.920 --> 00:01:18.520
who would forbid
you to see them.

00:01:18.680 --> 00:01:23.080
(upbeat, inspirational music)

00:01:26.160 --> 00:01:27.999
My name is Elliott Erwitt, and
I have been that some time.

00:01:31.320 --> 00:01:35.600
(upbeat music)

00:01:51.999 --> 00:01:52.680
(inspirational music)

00:01:58.360 --> 00:02:01.720
- [Voiceover] Smiles
and emotions are raised

00:02:03.520 --> 00:02:05.400
by his photos, but
they're also two elements

00:02:05.560 --> 00:02:08.160
that constitute
normality when together.

00:02:08.320 --> 00:02:11.200
Elliott Erwitt, born in 1928,
a Magnum Photos veteran,

00:02:11.360 --> 00:02:15.520
is the photographer who grasps

00:02:15.680 --> 00:02:17.160
the wonder in
everyday normality.

00:02:17.320 --> 00:02:19.880
His career began in
a dark room at 15,

00:02:19.999 --> 00:02:23.000
and a camera will be
his constant companion,

00:02:23.160 --> 00:02:25.975
accompanying his
every moment as a mask

00:02:25.999 --> 00:02:28.320
for his shyness and as an
expression of his spirit.

00:02:28.480 --> 00:02:31.640
Sarcasm, subtle irony, and
the pleasure of paradox,

00:02:31.800 --> 00:02:35.560
mark his words just
as his every photo.

00:02:35.720 --> 00:02:39.320
(jazz music)

00:02:45.999 --> 00:02:46.999
- I don't know, I am
a, what do you call it?

00:02:51.000 --> 00:02:54.975
Salade Russe.

00:02:54.999 --> 00:02:57.080
I was born in Paris, but
I was raised in Italy,

00:02:57.240 --> 00:03:02.080
and in Los Angeles,
and in New York.

00:03:02.320 --> 00:03:06.560
(jazz music)

00:03:06.720 --> 00:03:11.040
Of course, all of these
things have an impact on

00:03:11.200 --> 00:03:13.720
your life and on your attitude
towards almost everything.

00:03:13.999 --> 00:03:18.720
My interest in
photography started when

00:03:18.999 --> 00:03:21.280
I was 15 years old.

00:03:21.440 --> 00:03:24.999
It started with the
purchase of a plate camera,

00:03:25.000 --> 00:03:29.320
which was kind of a
toy, you might say,

00:03:29.800 --> 00:03:34.320
and then it developed
into a profession

00:03:34.960 --> 00:03:36.360
because I've been alone since,
I've been on my own since

00:03:36.520 --> 00:03:40.360
I was 16 and a half years old,

00:03:40.520 --> 00:03:42.999
and I've been earning
my living since then

00:03:43.080 --> 00:03:47.999
with one sort of
camera after another.

00:03:48.160 --> 00:03:52.000
- [Voiceover] A Magnum
Photographer since 1954,

00:03:52.160 --> 00:03:55.120
Elliott Erwitt will
take his first steps

00:03:55.280 --> 00:03:57.440
doing photo reportage for
American illustrated magazines.

00:03:57.600 --> 00:04:01.400
The reader is meant
to smile and dream

00:04:01.560 --> 00:04:03.720
with the images of the world

00:04:03.880 --> 00:04:05.320
which photographers
give to the press.

00:04:05.480 --> 00:04:07.960
But those are the years
in which the Cold War

00:04:07.999 --> 00:04:09.999
keeps a check on
two absolute powers

00:04:10.000 --> 00:04:12.600
that are determined
not to yield,

00:04:12.760 --> 00:04:14.960
and so Elliott
Erwitt will document

00:04:14.999 --> 00:04:16.960
crucial happenings and people

00:04:16.999 --> 00:04:18.999
such as Richard Nixon
and Nikita Khrushchev,

00:04:19.000 --> 00:04:22.200
who will change history.

00:04:22.360 --> 00:04:24.680
- I photographed
Nixon many times,

00:04:24.840 --> 00:04:26.600
on many occasions, when he was

00:04:26.760 --> 00:04:28.520
running for president and lost,

00:04:28.680 --> 00:04:31.640
when he won, when he
was in the White House.

00:04:31.999 --> 00:04:36.640
He was a public
person, and he was

00:04:36.999 --> 00:04:38.440
photographed by a lot of people.

00:04:38.600 --> 00:04:40.960
What do I think of him?

00:04:40.999 --> 00:04:42.880
Well, I never thought
very much of him.

00:04:42.999 --> 00:04:45.200
Having lived in California,

00:04:45.360 --> 00:04:50.040
where he began his career

00:04:50.200 --> 00:04:54.800
as a politician, at the
expense of the people,

00:04:54.999 --> 00:04:59.800
I already had formed
my opinion about him.

00:04:59.999 --> 00:05:02.920
He ran against a woman
called Helen Gahagan Douglas.

00:05:02.999 --> 00:05:06.920
It was one of the dirtiest,
nastiest campaigns,

00:05:06.999 --> 00:05:10.520
and which he won, and I think
that sort of established him

00:05:10.680 --> 00:05:14.600
as the kind of person that
he was in the minds of people

00:05:14.760 --> 00:05:18.999
who cared about such things.

00:05:19.080 --> 00:05:21.680
(melancholic music)

00:05:24.800 --> 00:05:26.640
- [Voiceover] The photograph
of a railway station taken

00:05:29.960 --> 00:05:31.975
by Henri Cartier-Bresson
was a revelation

00:05:31.999 --> 00:05:34.975
for the young Erwitt.

00:05:34.999 --> 00:05:36.800
He had left California,
moved to New York,

00:05:36.960 --> 00:05:39.560
and had begun
associating with a group

00:05:39.720 --> 00:05:41.320
of Magnum photographers.

00:05:41.480 --> 00:05:43.720
Once Erwitt's military
service was over, Robert Capa

00:05:43.880 --> 00:05:47.200
wanted him as a
permanent member.

00:05:47.360 --> 00:05:49.320
From that day one,
Elliott Erwitt will attain

00:05:49.480 --> 00:05:52.080
international fame by becoming
one of the absolute icons

00:05:52.240 --> 00:05:55.999
of the prestigious agency.

00:05:56.040 --> 00:05:58.160
(melancholic music)

00:05:58.320 --> 00:06:02.320
- They were all very
helpful and supportive.

00:06:02.480 --> 00:06:06.040
And Capa was, he
was a daredevil.

00:06:06.720 --> 00:06:11.040
You know that he
invented himself.

00:06:11.880 --> 00:06:15.680
His name was not Robert Capa.

00:06:15.840 --> 00:06:17.040
His name was Andre Friedman.

00:06:17.200 --> 00:06:19.560
And he invented himself as the
famous American photographer,

00:06:19.720 --> 00:06:24.480
Robert Capa, in order
to sell his pictures.

00:06:24.640 --> 00:06:28.320
You see, hype was even
useful then in those days.

00:06:28.480 --> 00:06:32.000
And he created a whole
new person of himself.

00:06:35.160 --> 00:06:37.000
(upbeat music)

00:06:40.320 --> 00:06:44.975
- [Voiceover] The photo
which shows Nixon pointing

00:06:44.999 --> 00:06:47.040
a finger at Khrushkev
with an air of challenge

00:06:47.200 --> 00:06:49.999
is one of the photos
by Elliott Erwitt

00:06:50.040 --> 00:06:52.320
that has marked an era.

00:06:52.480 --> 00:06:53.999
The two superpower
leaders define one another

00:06:54.120 --> 00:06:56.640
in 1959 with acrid words
while standing among

00:06:56.800 --> 00:07:00.840
the appliances of a
prefabricated kitchen

00:07:00.999 --> 00:07:03.720
of the American
National Exposition

00:07:03.880 --> 00:07:05.800
in Sokolniki Park in Moscow.

00:07:05.960 --> 00:07:08.320
Gone down in history
as the Kitchen Debate,

00:07:08.480 --> 00:07:10.840
that encounter has become
the emblem of a cultural

00:07:10.999 --> 00:07:13.600
and technological duel
which will translate

00:07:13.760 --> 00:07:16.080
into a political clash.

00:07:16.240 --> 00:07:18.560
On the one hand, the
American capitalism of Nixon

00:07:18.720 --> 00:07:21.600
in a display of its luxury
goods, from washing machines

00:07:21.760 --> 00:07:24.680
to Cadillacs, from high-heeled
shoes to ready meals

00:07:24.840 --> 00:07:27.920
and Coca-Cola.

00:07:27.999 --> 00:07:29.760
On the other, the
emphasis of Khrushchev

00:07:29.920 --> 00:07:32.320
for essential goods
with a barp of sarcasm.

00:07:32.480 --> 00:07:35.975
- [Voiceover] Says Mr. K, the
Soviet will overtake America,

00:07:35.999 --> 00:07:38.720
and then wave bye-bye.

00:07:38.880 --> 00:07:41.520
(playful music)

00:07:41.680 --> 00:07:44.999
- I was working for
Westinghouse Refrigerators,

00:07:45.120 --> 00:07:49.520
pretty far away from a
confrontation between

00:07:49.680 --> 00:07:53.000
East and West.

00:07:53.160 --> 00:07:54.480
I had an assignment in Moscow

00:07:55.560 --> 00:07:58.999
to take pictures of
Westinghouse Refrigerators

00:08:00.760 --> 00:08:05.400
at a industrial
show in Gorky Park.

00:08:07.360 --> 00:08:10.400
And while I was there
working for Westinghouse,

00:08:12.520 --> 00:08:15.040
there was a state visit of
then Vice President Nixon.

00:08:16.400 --> 00:08:20.040
So I attached myself
to the press people

00:08:21.560 --> 00:08:25.720
and had the good fortune
of being in the right place

00:08:25.880 --> 00:08:28.040
at the right time to get a
picture that became famous,

00:08:28.200 --> 00:08:33.040
simply because of
the two people,

00:08:33.999 --> 00:08:37.080
and the Cold War, and
the arrogance of Nixon,

00:08:39.040 --> 00:08:43.999
and the arrogance of
Khrushchev, and so on.

00:08:44.200 --> 00:08:48.360
So all the elements
were there right

00:08:48.520 --> 00:08:52.760
to make this photograph.

00:08:52.920 --> 00:08:57.560
I happened to be in the
Macy's kitchen at the time

00:08:57.720 --> 00:09:00.520
when they arrived, and
essentially both in front of me.

00:09:00.680 --> 00:09:05.480
In photography, good luck
is extremely important.

00:09:05.840 --> 00:09:10.560
It's one of the main

00:09:11.360 --> 00:09:12.880
requirements.

00:09:16.520 --> 00:09:18.120
(suspenseful music)

00:09:18.280 --> 00:09:23.120
- [Voiceover] In
those years, Russia,

00:09:23.360 --> 00:09:24.960
the land of his parents,
was a power which the world

00:09:24.999 --> 00:09:27.520
looked upon in fear.

00:09:27.680 --> 00:09:29.400
Erwitt had narrated it
a few years earlier,

00:09:29.560 --> 00:09:32.360
not only showing the
political tension,

00:09:32.520 --> 00:09:34.720
but also grasping the
normality of daily life

00:09:34.880 --> 00:09:37.400
denied to Western eyes.

00:09:41.999 --> 00:09:43.240
- I had the good fortune
to be in the Soviet Union

00:09:47.040 --> 00:09:50.800
in 1957 during the
anniversary of the so-called

00:09:50.960 --> 00:09:55.560
Great October Revolution,

00:09:55.720 --> 00:09:58.600
where they displayed their,
for the very first time,

00:09:58.760 --> 00:10:03.120
their intercontinental missiles.

00:10:03.280 --> 00:10:05.760
And I was able to photograph
them in Red Square,

00:10:05.960 --> 00:10:10.760
and it was a world scoop.

00:10:10.999 --> 00:10:13.880
I took the pictures, and
I realized how important

00:10:13.999 --> 00:10:17.280
they would be, so I
processed them in my room,

00:10:17.440 --> 00:10:21.600
in my hotel room,
right afterwards,

00:10:21.760 --> 00:10:24.999
just knowing that in some
cases, you would risk

00:10:25.000 --> 00:10:29.240
ruining your film by
going through baggage.

00:10:30.999 --> 00:10:34.240
I notified Life Magazine
at the time that I had

00:10:36.040 --> 00:10:39.040
this exclusive.

00:10:39.200 --> 00:10:41.600
It was a scoop.

00:10:41.760 --> 00:10:42.880
I mean, the pictures
were used all over,

00:10:42.999 --> 00:10:44.440
and I was a hero for a day.

00:10:44.600 --> 00:10:46.720
But, you know, that was it.

00:10:46.880 --> 00:10:50.400
(playful music)

00:10:53.880 --> 00:10:55.160
- [Voiceover] Erwitt collected
many portraits of celebrities

00:10:58.999 --> 00:11:01.200
in the course of his career.

00:11:01.360 --> 00:11:03.360
But it's definitely
Marilyn's face which inspired

00:11:05.760 --> 00:11:08.480
the photographer most,
with a mixture of intimacy,

00:11:08.640 --> 00:11:11.680
lightheartedness, and sexuality.

00:11:11.840 --> 00:11:14.760
- This picture of Marilyn
Monroe doesn't have

00:11:14.920 --> 00:11:17.440
any particular story.

00:11:17.600 --> 00:11:18.760
It's just a sitting
that I had with her

00:11:18.920 --> 00:11:21.040
during the filming of one
of her movies in New York

00:11:21.200 --> 00:11:25.600
I was involved in, The Misfits.

00:11:25.760 --> 00:11:29.200
I was involved in another
movie that she was in before,

00:11:29.360 --> 00:11:33.880
and I had some private sessions.

00:11:33.999 --> 00:11:36.975
She was very nice to me,
a perfectly intelligent,

00:11:36.999 --> 00:11:41.200
nice woman, and
we got along fine.

00:11:42.280 --> 00:11:45.000
Some number of
sittings with her.

00:11:47.440 --> 00:11:49.999
And the thing about Marilyn
is that you couldn't really

00:11:50.000 --> 00:11:53.200
take a bad picture of her.

00:11:53.360 --> 00:11:55.200
And I guess this is one of the
pretty good pictures of her.

00:11:55.360 --> 00:11:59.880
No, she wasn't
acting at that time.

00:11:59.999 --> 00:12:03.120
She was just, I guess, relaxing,
and just having a chat.

00:12:03.280 --> 00:12:07.640
That's the best way, I
think, to photograph people,

00:12:07.800 --> 00:12:10.920
without much fanfare, without...

00:12:10.999 --> 00:12:13.360
(melancholic music)

00:12:20.999 --> 00:12:21.999
She became extra
famous by dying young,

00:12:26.560 --> 00:12:30.999
which, of course,
is one of the great

00:12:31.720 --> 00:12:33.840
career moves for people.

00:12:33.999 --> 00:12:36.999
If you die young, you know,
and you're kind of famous

00:12:37.040 --> 00:12:40.720
at the time, you're likely
to have a very good career.

00:12:40.880 --> 00:12:45.120
It's a shame that
it works that way,

00:12:45.280 --> 00:12:48.840
but when you consider
that she might be,

00:12:48.999 --> 00:12:51.480
had she been alive, she
would be 85 years old now

00:12:51.640 --> 00:12:53.999
or 86 years old,
it's an interesting
thing to contemplate.

00:12:54.000 --> 00:12:58.400
(melancholic music)

00:13:01.640 --> 00:13:03.240
- [Voiceover] It will be
the face of another woman,

00:13:06.800 --> 00:13:08.640
Jacqueline Kennedy, which
will move the world.

00:13:08.800 --> 00:13:11.440
The reportage is dedicated
to one of the most dramatic

00:13:11.600 --> 00:13:13.999
days in the 20th
century America.

00:13:14.040 --> 00:13:16.640
(melancholic music)

00:13:16.800 --> 00:13:21.640
- When he was assassinated,
I immediately went

00:13:21.920 --> 00:13:24.040
to Washington to cover the
funeral as best I could.

00:13:24.320 --> 00:13:29.040
And part of that was his burial

00:13:29.480 --> 00:13:34.240
in the cemetery in Virginia.

00:13:34.400 --> 00:13:38.960
I had a good position
near the grave.

00:13:39.240 --> 00:13:43.960
I had a big lens.

00:13:44.400 --> 00:13:46.800
And I got the picture which
was a rather touching picture

00:13:46.960 --> 00:13:50.480
of the widow and the
brother at graveside.

00:13:53.999 --> 00:13:55.280
I mean, the situation was
so emotional that anything,

00:13:59.440 --> 00:14:03.999
any representation of it
would have been touching

00:14:04.600 --> 00:14:08.840
and special.

00:14:08.999 --> 00:14:10.480
But in this particular
case, there's one element

00:14:10.640 --> 00:14:14.320
in the picture which is
sometimes passed over,

00:14:14.480 --> 00:14:18.975
but there's actually a
tear from her eye stuck

00:14:18.999 --> 00:14:23.999
into her veil, which I think

00:14:24.040 --> 00:14:28.680
sets it apart from
many of the other ones.

00:14:34.560 --> 00:14:35.880
- [Voiceover] The two pictures
of the Kitchen Debate,

00:14:39.720 --> 00:14:42.040
somewhat due to instinct,
somewhat due to luck,

00:14:42.200 --> 00:14:45.200
will remain in history as the
image of an open confrontation

00:14:45.360 --> 00:14:48.640
between the two superpowers
that make the world tremble.

00:14:48.800 --> 00:14:52.400
It will be the dynamics
of gestures, looks,

00:14:52.560 --> 00:14:54.999
and unspoken words, that will
later fire the imagination.

00:14:55.040 --> 00:14:59.520
The reality of the facts and
the words of the photographer

00:14:59.680 --> 00:15:02.520
himself was
completely different.

00:15:02.680 --> 00:15:05.999
- In public, people do not
discuss state affairs, I think.

00:15:06.240 --> 00:15:10.999
In public, with photographers
around and people around,

00:15:11.400 --> 00:15:15.960
they posture.

00:15:15.999 --> 00:15:18.080
Politicians, that's
their job, to posture.

00:15:18.240 --> 00:15:22.080
But serious things are
usually done in closed doors.

00:15:22.720 --> 00:15:27.080
Khrushchev and Nixon
were simply posturing

00:15:27.880 --> 00:15:30.800
for whoever was watching.

00:15:30.960 --> 00:15:34.680
I'm sure if there was substance,

00:15:34.840 --> 00:15:39.680
and I'm sure there
must have been,

00:15:39.920 --> 00:15:43.600
to be discussed, it was
done under closed doors

00:15:43.760 --> 00:15:46.200
in the Kremlin, as
things usually are.

00:15:46.360 --> 00:15:50.600
But politicians, when they're
out, and especially Nixon,

00:15:50.760 --> 00:15:55.240
who was very eager to
promote himself as the person

00:15:56.120 --> 00:16:00.280
who stood up to the Russians,
stood up to the Soviets,

00:16:01.440 --> 00:16:06.120
for him it was important
to seem assertive.

00:16:06.600 --> 00:16:09.840
And that's why the picture
of him poking his finger

00:16:09.999 --> 00:16:14.080
in the chest of Khrushchev
was such a useful thing

00:16:14.240 --> 00:16:18.320
for him, particularly in
his campaign for president,

00:16:18.480 --> 00:16:23.000
which, in particular, he lost.

00:16:26.240 --> 00:16:27.999
I gave that picture as
a courtesy to the person

00:16:31.720 --> 00:16:36.240
who became his public
relations official.

00:16:38.480 --> 00:16:41.720
And before I knew it, the
picture was everywhere,

00:16:43.640 --> 00:16:46.600
being used as proof of
the toughness of Nixon.

00:16:47.560 --> 00:16:51.600
It was used without
my permission,

00:16:52.720 --> 00:16:54.999
without my authorization.

00:16:55.000 --> 00:16:57.120
But that's the way it goes.

00:16:57.280 --> 00:17:00.360
I certainly would
have been very upset

00:17:00.520 --> 00:17:04.280
to be responsible in
any way for his victory,

00:17:04.440 --> 00:17:08.640
but he lost.

00:17:08.800 --> 00:17:10.240
(dark music)

00:17:20.320 --> 00:17:20.960
(upbeat music)

00:17:26.800 --> 00:17:30.320
- [Voiceover] Dogs,
children, and romanticism,

00:17:31.960 --> 00:17:34.440
are Erwitt's recurring themes,

00:17:34.600 --> 00:17:36.800
a sensitivity which
accompanies all his works.

00:17:36.960 --> 00:17:40.080
Unique images that
have made history

00:17:40.240 --> 00:17:42.320
and which constitute
an extremely personal,

00:17:42.480 --> 00:17:45.000
recognizable view of the world.

00:17:45.160 --> 00:17:48.440
- This is a fancy dog

00:17:50.000 --> 00:17:52.920
wearing a rose by
Balenciaga, I think,

00:17:55.160 --> 00:17:59.280
the dress designer.

00:17:59.440 --> 00:18:01.520
I like taking pictures of
dogs, even if they're fancy.

00:18:01.680 --> 00:18:04.840
That's why it's an elegant
dog with an elegant flower.

00:18:04.999 --> 00:18:08.600
By the same token, I take
pictures of less elegant dogs.

00:18:08.760 --> 00:18:11.975
For instance, that picture
was taken across the street

00:18:11.999 --> 00:18:15.520
from my house in Central
Park, and it's one

00:18:15.680 --> 00:18:19.999
of my more amusing
photographs, I think.

00:18:20.280 --> 00:18:24.999
(haunting music)

00:18:30.999 --> 00:18:31.880
Dogs are very sympathetic.

00:18:36.120 --> 00:18:39.600
They're everywhere in the world.

00:18:39.760 --> 00:18:42.800
They're uncomplicated.

00:18:42.960 --> 00:18:45.440
They don't mind
being photographed,

00:18:45.600 --> 00:18:48.000
and they don't ask for prints.

00:18:48.160 --> 00:18:51.120
I think those are
very good reasons.

00:18:51.280 --> 00:18:55.520
And also they make very
sort of human-like subjects.

00:19:00.600 --> 00:19:01.160
(melancholic music)

00:19:06.999 --> 00:19:10.520
The picture of two lovers
in a rear-view mirror

00:19:12.000 --> 00:19:15.160
is at the end of
Sunset Boulevard

00:19:15.320 --> 00:19:17.160
in Santa Monica.

00:19:17.320 --> 00:19:20.800
It was put away,
just another picture,

00:19:20.960 --> 00:19:22.840
and then 25 years later,
when I was looking through

00:19:22.999 --> 00:19:25.680
my contact sheets, I
noticed it and I thought,

00:19:25.840 --> 00:19:29.520
"Well, maybe this is
a good one to print."

00:19:29.680 --> 00:19:32.200
And it sort of became kind of
a signature picture for me.

00:19:32.360 --> 00:19:35.999
But, again, it was a discovery.

00:19:36.000 --> 00:19:39.440
I suppose there are other
discoveries that I could make,

00:19:39.600 --> 00:19:42.680
and that's what I'm
doing now in my old age,

00:19:42.840 --> 00:19:45.560
going through my old work

00:19:45.720 --> 00:19:48.560
and seeing what it is
that may be of some use.

00:19:48.999 --> 00:19:53.560
(melancholic music)

00:19:59.040 --> 00:20:00.200
My pictures of 50 years
ago look rather similar,

00:20:04.200 --> 00:20:07.240
except for the cars
and the background.

00:20:07.400 --> 00:20:09.560
But my professional pictures
have changed enormously.

00:20:09.880 --> 00:20:14.560
They change with the
market conditions.

00:20:14.999 --> 00:20:18.840
That's what I mean about being
a professional photographer.

00:20:18.999 --> 00:20:21.440
You stay with the trends,
with the requirements,

00:20:21.600 --> 00:20:26.040
with the machinery.

00:20:26.200 --> 00:20:28.999
And you earn your
living that way.

00:20:29.080 --> 00:20:33.360
But my personal
work is unchanged.

00:20:33.520 --> 00:20:36.800
I don't know if that's good
or bad, but it's a fact.

00:20:36.960 --> 00:20:39.760
(soft music)

00:20:41.280 --> 00:20:44.360
(upbeat music)