In the entire length of photography's history, which is probably 180 years, more or less, the most consistent image made through all that time is probably the portrait. It's history. Everybody makes a portrait of something, somebody. And no doubt, we will too. So what is a portrait? Who is it of? Is it about the other person or is about you, the artist? Or is it about the combination of you and your subject? Because it's a very fluid situation, making a portrait. You have to go over to somebody if they're a stranger and say, "I have to make a portrait of you. "Something about you that moves me in some way. "May I make a portrait of you?" And then you have to follow through and be charming in some way so that they will actually say, "Well, yes, I'd love to have my portrait made by you." Or it may be that they're family members and there's some kind of an event. And people who you don't see normally have come together. And you say, "Oh, we have to make a portrait of ev...
erybody "to record the moment." Sort of history. And in a moment like that, there's a tendency for everybody to sit straight up, look at the camera, and gather themselves together. I call that the tombstone moment, because it's like, phhht, just like that. Everybody facing forward for history. I think there's a possibility there to break that up and make it much more interesting and playful, just like a family normally is. So portraiture is one of the basic staples of photography. And there are many interesting ways to do this. So let's go and take a look at how portraits can be made whether you're on the street or you're home or in a woods or by the beach or wherever you find yourself. There'll always be other human beings around who you might find interesting. (dramatic music) We just came out of a terrific restaurant in Siena. And as we come out of the restaurant, who is standing outside the restaurant but the chef. And we had the sudden inspiration to say thank you to the chef. And as I looked at him, I thought, this guys worth a photograph. Something about him was solid. Fantastic! This is the chef who made lunch for us. And when I came out, he looked so strong standing there I thought, I'll make a portrait of him. So I'm making a kind of formal portrait with all these steps behind because I like the stripes in here and the stripes of the steps behind him. Right into the camera. Bellissimo, bellissimo. Good, strong, ah-ha. You see, I like that detail that's right behind him. There's something about the size of his head and the size of that circle near him. Fantastic! This beautiful wall behind him, an old wall. And the chef is standing there very simply, solid. I feel how solid and strong he is. He knows things because he's cooking all day long. So I get his seriousness and everything. But I love what's going on between this old detail and his head. So I'm making a picture of two things, of age and history, as well as a young chef. And this little piece- excuse me - this little piece of color, bing, it's all black and white, black and white, black and white, but a little touch of color. So there's an opportunity here to work this really simply in the moment. Okay, now come up one step here. (laughing) Natural, natural. So I'm trying to fill the frame. The way his arm is hanging and the way that arm, he has a beautiful kind of statuesque quality to him. And I see the statuesque because that little statute on the steps gives me a kind of inspiration. So sometimes you just do these things very quickly. I'm sure I could work him for an hour because he's got a great presence. Look how steady his eyes look steady into my camera. So I've been able to work with him and ask him to participate in this, and now we have a thing between us. Because you need to have a connection. When you are making a portrait of a stranger, if you can find a connection, the portrait gets even more interesting. (dramatic music)
Thank you very much. (soft piano music)
It's such an interesting scene here. Someone is tatting and doing her crocheting. I'm just gonna walk in and make some portraits and move around. So watch the way I try to find the right place to be. They've welcomed us right now and I'm just gonna play with it. Two kinds of work, hand work. Cleaning corks and making crochet. This is like old world Italy. What's important is it's happening in this medieval courtyard. So the picture of the woman is interesting. But to see her where she is, that's what's so interesting. We're in their life. We're making a portrait about life in Italy. It's not just a portrait of a woman, but it's a portrait of what's going on here. (soft music) I try to make the background and the subject come together in an interesting way. It's pushing the boundaries of the photograph. Rather than being target-fixated only on the woman, I photograph her hands; I photograph her body. I photograph all of her. Then I photograph with the background. And I've moved all the way around her, 360 degrees, so that I could see where it's taking place. Because a portrait isn't only of the person, it also could be of the place. And I think it's important to kind of put these things together in some way that fits and makes it interesting for all of us. (speaking in foreign language) (dramatic music) Just like that. Fantastic! Look at this guy, look at this guy, look at this guy. (speaking in foreign language) A surprise like that. A man comes out of a door sort of naked carrying a ladder. Do you stand by and watch or do you go for it? So I ran down the street. And for a moment, yeah, I interacted with him and said, turn around or something, but he gave himself fully and freely. And I've been able to make a quirky photograph. It's really fun, a guy in a doorway with a ladder. I love it; I love it!