《徕卡肖像•乔尔》著名街头摄影师乔尔

i'm john my roles, and i've been photographing for fifty years. i consider myself the street photographer, which means i like to be out in every day, chaos of ordinary life and watch for show themselves to me. i never thought about photography as art form or or something. i was interested in doing in sixty two, and i was working as a junior architecture in a small middle man and company. i designed a booklet, and and my boss hired robert frank to shoot this bottom, and i went down and watched him execute the work for this book. and it was amazing. he moves and photographed, and it was also physical and politics and magical, because i thought you had to say, hold that post. and i was so bold, overwhelmed that when i left, the shooting was out on the street, everything i saw on the street. taxi, you know, hello, goodbye. everything seemed to have meaning to it. and by the time i got back to my office, i said to my boss, i'm quitting because i would be photographer. they think of photography is picture and and it is, but i think of photography is ideas and do the pictures sustain your ideas, or they just good pictures. i'm not that interested in making more good pictures. i want to have experience in the world that is a deepening experience that that makes me feel alive and awake and conscious being. and artists i learned using alex on the streets, it taught me to understand human nature. it engages my curiosity with the world and the meaning that comes out of the world. he's really been an instrument of my education and my development as an artist. when nine eleven happened, i wasn't in new york city. i was up on cape cohen photographing actually out that morning early, the and my wife called and said, you, gotta get to a television said, there's something crazy going on in new york. and i watch this the second plane crash, and as the building started to fall, and then i got back to you. and the first thing i did, we impact the car. i walked down right to the edge of ground zero at chambers and granted street. and because i me, i raised the camera to my eye, just a kind of take a look to see what was there. and as soon as i did, somebody behind punch me on my shop, and i turned around, and it was a lady cup. and she says, no photographs, buddy, this is a crime scene. i said, suppose i was the press. what would you do then? and she left in my faith, and she said, the press take a look like that, and up the street was the press core. and i think about whether they going, and she's never, i told you it's a crime scene. mayor julia says, no photographs, and i immediately thought, 在哪过年，it's a crime scene. i'm gonna. go in there, and i'm going to make the and give it to the city of new york. i managed to call a friend who was a commission of parks in new york. and i said, he knows me since he was a kid. i said, again, i always straight arrow. this is what i want to do. who do you know in the government that can help me? and he said, john, i am the. and and he gave me a workers pass, and i went in, and i stayed in for nine years. and i used to like a and four by five camera and uh six by, because i was by myself every day, and i needed something that could get quick things that happened immediately, like things that were slower, that i could study more. i used to fall by five, because i wanted to make the document the most precise document, so that when we blow up the pictures to ten feet or twelve feet, they have the kind of authenticity that makes you feel it in your god that you are standing in front of our vacation will.