So I have a surprise that I want to share with you today and this is something I haven't talked about at all on the show or put anything on Twitter or Facebook about it either.

A few weeks ago when I was in New York I had the opportunity to do a video with Ralph Gibson.

Ralph Gibson is one of the great living photographers of our generation.

He had an enormous impact on me when I was starting out

when I first came across his work.

If you're not familiar with his work, he has a really

interesting aesthetic quality to what he does and a very interesting approach.

He, in Ralph's work, the key element I think is framing and how he frames up the composition.

And a lot of times it's about what he leaves out just as much as what is in the picture.

So for instance, it's narrowed down to really the Gestalt, the key elements that make sense to communicate something visually. So you're left with, for instance, if there's a figure in the composition composition you'll just see a gesture with an

arm or something like that. It's a really interesting quality to his work and I

think that in many ways he is a linchpin to an older generation of

photographers one of his first jobs was assisting Dorothy a pen to an older generation of photographers.

One of his first jobs was assisting Dorothea Lang

in the 60s, and then later on worked with Robert Frank

on two of his films.

And when he moved to New York, he was friends with everybody.

He knew Dan Arbus, you know Mary

Alan Mark, he knew Henri Cartier Breson very well. And he was a lot younger than

those people and so it's interesting because I think his work definitely you see an

influence of what some of those people in New York were doing at that time

But to me anyway it combines some of the great elements you know some of the narrative qualities of street photography and it combines those with a lot of the possibilities

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