I think people are full of emotion and there's drama in a portrait of a person and everybody's

existence is complicated and so what interests me is to try and reach some of the

complications and to respond to some of the complications in a person.

So that's not necessarily about beauty.

It's not necessarily about a beautiful woman or a handsome man.

It may be much more the emotional the emotion that I hope that I can find within the face. You d'Orre welltee,

Udura wellte said this beautifully.

Yudura wealthy said this beautifully. She said, it's not so much that I'm pointing the finger in judgment at people or saying one way of life is better than another, but more that I'm parting the curtain, that veil of

indifference, that shadow that falls between people, the veil of indifference to each other's

presence, to each other's wonder, to each other's human frailties.

So I don't want to photograph people less now than I did 10 years ago.

I actually want to do more.

The person who isn't used to being photographed is much for me, much easier photographed because they're more open.

They've agreed to be photographed.

I never just snap a picture of someone.

I always ask if I'm in photograph the person.

So in that way, they're all portraits.

When a person has been photographed a lot

as any celebrity, of course, or any, whether there's a sports figure or a political figure or an actor,

they have their own idea of how they want to be presented.

And it's quite hard to break through that. I would be directly

out of Richard Afton and August Sander and will also Cartier Breson. I I love the snapshot now I do less of that

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