It's March 12, 2006, and this is the Candid Frame.

Welcome to episode three.

Before I start the interview, I want to thank everyone who's taking a listen to the first two episodes.

But especially I want to thank those people who've made a commitment to the show by subscribing.

You know, it's very encouraging that in the very short time that the show has been available,

that a lot of people have been very excited and like what they heard on this show to the point that they're willing to add this podcast to the list of podcasts that they

listen to on a regular basis. There are a thousand podcasts out there and thousands more coming

along the way. And just the fact that you as a listener are making this show part of your

life, I'm very grateful.

Now, in describing Dan Milner's work, it would be a disservice to simply call him a documentary photographer.

It would also be a disservice to call him a photojournalist or a portrait photographer or wedding photographer photographer because Dan has done all these things,

but he's not limited by just those genres of photography.

When you take a look at his work, you'll see the amazing breath of subject matter and things that he's chosen to photograph and document and to tell stories of with his camera.

Though he uses primarily black and white to tell his images, his images are more than just beautiful black and white photographs.

His photographs tell a story, and whether he's documenting the wedding day of a couple here in Los Angeles,

or whether he's documenting the Easter festivities in various towns in Sicily,

there's a consistency to his style, to his eye,

and there's a sensitivity that he brings to his work

that I think you will appreciate when you finally get a look at his images.

I'll have a link for his website on thecandidframe.com and check it out when you have the chance.

Well, right now, sit back and enjoy our conversation with Dan Milner.

I'm here with Daniel Milner and Daniel.

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