So anyway = ) here is the second part of Ume Kayo's Television Interview. I really find her photography refreshing, fun, and light. Compared to war and conflict photojournalism, Ume Kayo's photographs are an antidote, in my opinion, for all the wrong that the world has experiened. So here is the English translation of her interview. Kindly search my blog if you want to see a group interview with Kishin Shinoyama, Ume Kayo, Rinko Kawauchi, and Yurie Nagashima. = ) 

徹子の部屋 梅佳代 2/2 by vent2vent

VIDEO 2

00:00

Interviewer: You have a lot of photos… I picked some of my favorites.

Ume Kayo: Yes.

Interviewer: So let’s see them.

Ume Kayo: OK.

Interviewer: There’s nothing happening but this is…

Ume Kayo: Oh this one? You really are something… great.

Interviewer: Really?

Ume Kayo: Yes.

Interviewer: What’s happening?

Ume Kayo: I like this one too.

Interviewer: Ok.

Ume Kayo: I was walking by the hospital.

Interviewer: Hospital? 

Ume Kayo: Yes. I went there and looked in the room and it was like this. I thought it was interesting so I took a photo.

Interviewer: All of them are really paying attention to something. 

Ume Kayo: Right? That made me wonder what’s happening.

Interviewer: Yes, yes. They must pose like that unconsciously.

Ume Kayo: It’s kind of like they’re sexy idols.

Interviewer: Yes. They are not thinking and not ready for anything, so you could take a picture like that.

Ume Kayo: Right.

00:56

Interviewer: So I heard you came here before.

Ume Kayo: Yes, I was telling my friends that I really wanted to see you. So my friends and I came to see this show.

Interviewer: Oh, really? 

Ume Kayo: Yes.

Interviewer: There’s usually an audience?

Ume Kayo: Yes. So we were in the audience with a lot of old ladies around my mother’s age. And I saw you and got so excited. I could see Kimimaro Ayanokoji (Japanese comedian) too. 

Interviewer: So he was the guest for that day?

Ume Kayo: Yes. I was really excited. What was really surprising was that you kept your energy high from the beginning to end.

Interviewer: Oh, really?

Ume Kayo: Yes. You have great strength.

Interviewer: I think I’m average.

Ume Kayo: Really? We were saying you were awesome on the way home. And also we took a picture. 

Interviewer: Oh, we did?

Ume Kayo: Yes. With Kimimaro, with you, with the ladies in the audience and my friends.

Interviewer: Yea, yea. And were you in that too? 

Ume Kayo: Yes, I was.

Interviewer: That’s good.

02:00

Ume Kayo: Yes, that’s one of my great memories.

Interviewer: That’s great.

Ume Kayo: Yes, it really is.

Interviewer: We always invite some audience members in here and take pictures with guests for them to take it to home after we film the show.

Ume Kayo: Yes, right.

Interviewer: That’s good.

Ume Kayo: Yes. I was really happy. But I never thought I was going to be here as a guest, I thought it’s some kind of CG or something when I saw myself on the screen. Just me.

Interviewer: But why did you want to meet me?

Ume Kayo: Why? Umm…I was seeing you on TV all the time and… I don’t know. I like you a lot.

Interviewer: Well…

Ume Kayo: There are lots of people who like you. 

Interviewer: You think so? Then say hi to them for me.

Ume Kayo: My friends are watching together now too.

Interviewer: Oh, really? Then tell them I said hi.

Ume Kayo: Yes.

Interviewer: I’m happy to hear that especially from young people.

Ume Kayo: A lot of my friends like you.

Interviewer: Really?

Ume Kayo: Yes.

Interviewer: That makes me happy. I’ve been working on TV for 57 years but that still makes me happy when I hear someone talks about me like that.

Ume Kayo: My sister is also here today.

Interviewer: Really? Oh, that sister who kissed your grandfather’s head? 

Ume Kayo: Yes.

Interviewer: Oh, ok. I like your clothing today.

Ume Kayo: Today is a big day for me so I ran to a shopping mall and got these.

03:14

Interviewer: I don’t know which shopping mall but it must be a nice one. 

Ume Kayo: Really? I’m glad to hear that from you and I’m getting sweaty at the same time.

Interviewer: And your stockings are very, umm…  bold.

Ume Kayo: Bold!?

Interviewer:I can tell who’s walking from far away.

Ume Kayo: Haha, can you?

Interviewer: And that’s great. Your nails are yellow too…

Ume Kayo: Yes.

Interviewer: Do you like to do it?

Ume Kayo: Oh nails? Yes. I color my nails but I don’t really put make up on. I have it on today only because somebody helped me. I’m happy about that.

Interviewer: You look pretty.

Ume Kayo: Oh, thank you very much.

Interviewer: Ok then let’s see another photo.

Ume Kayo: Oh, that’s right. I’m feeling hot.

Interviewer: Are you ok?

Ume Kayo: Yes.

03:58

Interviewer: How can this boy do that?

Ume Kayo: Ok, this is the photo when I went to an elementary school and… 

Interviewer: Is that his tongue? Can he do that with his tongue? I’ve seen some people who can do that but I don’t know how.

Ume Kayo: He proudly showed me.

Interviewer: Yea? 

Ume Kayo: I don’t know how to do it though. I can’t do it.

Interviewer: I can’t either. It’s wonderful.

Ume Kayo: I felt the same way.

Interviewer: It’s a good photo for him to see when he’s older.

Ume Kayo: I think so.

Interviewer: He can think back about what he was doing when he was little.

Ume Kayo: I think maybe he didn’t know what this photo was for when I took it.

Interviewer: Cute. How about this?

04:28

Ume Kayo: This is, um… it’s my neighborhood. Kids were talking on the street. If you look close you can see the kids have good faces.

Interviewer: Haha!

Ume Kayo: I wonder what they’re meeting for.

Interviewer: They are all serious, aren’t they?

Ume Kayo:Right?

Interviewer: This is a great one too.

Ume Kayo: I agree.

Interviewer: It looks like they are trying to put something in it.

Ume Kayo: Yes.

Interviewer: They could be trying to take something out or maybe they can’t open it… or something like that.

Ume Kayo: I think so. Or else, I mean, I usually don’t get to see everyone’s back. Something must be happening.

Interviewer: But… life is funny, isn’t it? We can feel them panicking even though it’s just a photo. 

Ume Kayo: Right.

Interviewer:Even though I wasn’t there.

Ume Kayo: Yes. 

Interviewer: Cutting out those moments is your style.

Ume Kayo: Yes.

Interviewer: So you are always holding your camera.

Ume Kayo: Yes.

Interviewer: And you take photos when you see something interesting?

Ume Kayo: Yes, that’s right. 

05:26

Interviewer: Let’s see the boys picture.

Ume Kayo: OK.

Interviewer: What’s happening?

Ume Kayo: They are showing off for me. I heard they were playing “Hit Man”, and the paper airplane is a gun, those three kids were killed but…. Umm… They are something.

Interviewer: But this boy… This boy is so in to it. It’s like he is in a movie or something.

Ume Kayo: Yes. 

Interviewer: Oh, that was really funny.

Ume Kayo: They were serious.

Interviewer: Hahaha!

Ume Kayo: They were great.

Interviewer: That boy on the ground is really…

Ume Kayo: Isn’t he great?

Interviewer: Hahaha!

Ume Kayo: That boy back there, I can’t even see his face.

Interviewer: Yes.

Ume Kayo: Their acting is awesome.

Interviewer: That’s true. Kids are funny. And what’s this?

Ume Kayo: They told me that they are pretending to be “bad boys.”

Interviewer: Of course.

Ume Kayo: Then they rode my bicycle…

Interviewer: Oh is this yours?

Ume Kayo: Yes, it’s not in good shape though.

Interviewer: So they are acting, right?

06:30

Ume Kayo: Yes.

Interviewer: Like “bad boys.”

Ume Kayo:By stick their tongues out, yes.

Interviewer: I see. I like this one.

Ume Kayo: Oh. This photo was taken from outside of a phone booth.

Interviewer: Is this a phone booth?

Ume Kayo: Yes. Like kids always do, he put his face on the glass door of the phone booth and was playing.

Interviewer: Hahaha! Does he like to do this? 

Ume Kayo: I guess. 

Interviewer: I wonder why they do this.

Ume Kayo: Right? But they always do that when they see glass.

Interviewer: But I do it sometimes myself.

Ume Kayo: What? Do you do that? Really? 

Interviewer: I try it myself and do like this… and I think my face must be funny right now.

Ume Kayo: Wait, what is it? Can I take a picture now?

Interviewer: Sure you can.

Ume Kayo: Ok. That’s a great face. Really! This is so cute.

Interviewer: Hahaha!

Ume Kayo: I took an awesome picture….

Interviewer: I like doing like this when nobody’s around me.

Ume Kayo: Why do you do it by yourself?

Interviewer: Sometimes my lips are on the glass to make funnier faces. 

07:25

Ume Kayo: Really? That’s awesome. Hahaha!

Interviewer: Let’s go to the next one. This boy is really funny. I heard he was screaming?

Ume Kayo: He was saying: “Hey Ume Kayo!! Don’t take any pictures, Ume Kayo!!”

Interviewer: Hahaha! He said: “Don’t do it Ume Kayo”? 

Ume Kayo: He was mad. He was like “Don’t do it!! Just go home!!”

Interviewer: I see.

Ume Kayo: But he is grown up now. I think he is around 20.

Interviewer: Oh was it taken that long ago?

Ume Kayo: This is 10 years ago.

Interviewer: Really? 

Ume Kayo: When I was in school in Osaka.

Interviewer: Look at his legs.

Ume Kayo: Yes, those legs. 

Interviewer: Look at the way he runs.

Ume Kayo: Right. The way he runs.

Interviewer: I feel like I can hear him saying: “Don’t do it Ume Kayo!”

Ume Kayo: He is definitely tying to be cool. He looks serious.

Interviewer: They learn that from watching adults. 

08:16

Ume Kayo: I agree.

Interviewer: So that boy is already 20? 

Ume Kayo: Yes, he is.

Interviewer: Really?

Ume Kayo: I heard he had a baby.

Interviewer: Oh, really?

Ume Kayo: And I was shocked.

Interviewer: And he still calls you “Ume Kayo”?

Ume Kayo: Yes, “Ume Kayo.”

Interviewer: And he told you that he had a baby? 

Ume Kayo: I contacted him because I was wondering how he was doing, so I messaged him. Then he said: “My baby was born.”

Interviewer: Hahaha! “My baby was born”?

Ume Kayo: It was shocking. I thought he was lying but it’s true.

Interviewer: Hahaha! “My baby was born”?

Ume Kayo: He has two kids already.

Interviewer: Two?

Ume Kayo: Already, yes. There were two babies. The second was born one year after his first.

Interviewer: Did you take any photos?

Ume Kayo: I haven’t seen them in person yet. So…

Interviewer: Oh only e-mail?

Ume Kayo: Yes.

Interviewer: So you’ve only seen a picture of them?

Ume Kayo: Yes. I was really shocked though.

Interviewer: That’s interesting. So, what do you think about pictures via e-mail?

Ume Kayo: I don’t use it at all.

Interviewer: You don’t?

Ume Kayo: No. It has a delay after you push the button. Do you use it?

09:10

Interviewer: I don’t do it. I mean I take some pictures but I don’t know how to send it, so I just look at it myself.

Ume Kayo: Oh, ok. I don’t know if it’s a digital camera or what, but I saw some pictures of Tamori’s (Japanese comedian) left over food at the end of the year.

Interviewer: So, I have a digital camera. I know I should take a photo of the food when he brings it out, while it’s nice looking, but I always forget and remember after I eat. Then I can only take photos of the messy left over food. I really feel ashamed. 

Ume Kayo: But you are always like that, right? Hahaha!

Interviewer: I’m not doing it on purpose. So I went to his house with my friend Yoko Nogiwa (Japanese actress). I took her plate and said: “Give it to me and hold on a second” and took some photos because she hadn’t touched it yet.

Ume Kayo: “Give it to me”? Hahaha! 

Interviewer: I was lucky that time. Everyone asks me why I forget to taka a photo. Really I don’t know what to say. I think: “Oh this looks delicious” first, I guess.

09:54

Ume Kayo: Yes.

Interviewer: But I think it’s ok. Tamori always asks me: “Why do you take photos of half eaten food all the time?”

Ume Kayo: Yes, I saw those photos before.

Interviewer: Then did you meet him?

Ume Kayo: No, not yet.

Interviewer: So is that information from TV? 

Ume Kayo: Yes, I saw it on TV. I look forward to watching that TV show at the end of every year.

Interviewer: Yea, yea. I’m hoping to go to visit him this year too. He is a great cook.

Ume Kayo: Then, please take a photo this year for sure! 

Interviewer: Yes. 

Ume Kayo: A nice one. 

Interviewer: I hope so. Even when I tell myself to do it, I don’t know why I forget it.

Ume Kayo: Oh.

Interviewer: Why? I am an adult.

Ume Kayo: Haha, an adult!

Interviewer: Yes, I’m an adult and I put my camera on the table. But I start to eat as soon as I see the food, I don’t understand myself.

Ume Kayo: Every time, right?

Interviewer: Yes, it’s been a long time. I think it’s been for 10 years.

Ume Kayo: 10 years? Really? It’s kind of awesome that you keep forgetting for 10 years.

Interviewer: Right? 

10:47

Interviewer: She has a photo exhibition… And you finished at Omotesando, right?

Ume Kayo: That’s right.

Interviewer: And 22,000 people came in 16 days?

Ume Kayo: Yes. 

Interviewer: It seems like people love to see photos.

Ume Kayo: I guess so.

Interviewer: I saw lots of silly smiles.

Interviewer: Oh, really? But it’s great that photos can make people smile.

Ume Kayo: Yes.

11:09

Interviewer: So you are going to do it in Osaka next, right?

Ume Kayo: Yes.

Interviewer: “Commemoration Photo Exhibition” at HEP HALL Osaka.

Ume Kayo: Yes, it's at HEP HALL. 

Interviewer: Hahaha! This picture got on the cover.

Ume Kayo: Yes.

Interviewer: That’s funny. And I heard you are showing your newest photos.

Ume Kayo: Yes.

Interviewer: I’ve been thinking about this. You have to have a sense of humor to do this.

Ume Kayo: You think so?

Interviewer: I think so. I just feel bad when I see someone who has taken a normal photo of someone who fell on the ground. 

Ume Kayo: Yes.

Interviewer: Right? 

Ume Kayo: So that’s the difficult line.

Interviewer: It’s a difficult line. Either people think it’s funny or sad.

Ume Kayo: Not to hurt anybody, right? 

Interviewer: Yes. 

Ume Kayo: That’s the most important part.

Interviewer: Yes, it’s funny to see kids or someone fall but it’s cruel too. 

Ume Kayo: I agree. 

Interviewer: So keep it humorous and laughable… And it’s funnier after I hear the stories from you. 

Ume Kayo: Yes.

12:10

Interviewer: That grandmother’s “Watermelon!! You forgot” photo.

Ume Kayo: Oh that incident?

Interviewer: Everyone should hear the story of it.

Ume Kayo: Yes, haha! Watermelon… Right.

Interviewer: It looks like she saw a thief.

Ume Kayo: Yes.

Interviewer: And I hope your grandfather stays healthy and is able to keep being your model.

Ume Kayo:Yes.

Interviewer: I am looking forward to seeing your photos. So when you have a new photo book please send it to me.

Ume Kayo: Yes, of course.

Interviewer: Thank you for coming here today. 

Ume Kayo: Thank you very much.

Interviewer: But, haha! I heard your name before, but you are really funny.

Ume Kayo: Thank you.

Interviewer: Thank you so much for today and see you soon!

Found another gem on the internet! This time an interview of Ume Kayo on television explaining some of her photographs. I made another English transcript of this video since it is very rare to find subtitles and I wanted Ume Kayo's work introduced to the West. Again, she amazes me with her skill on capturing funny moments of things that not a lot of people pay attention to. I've been doing research on her work so if you are curious, right below are other translated interviews and a book review that I did awhile back. Kindly please wait as I edit down Part 2 of the video. 

Here are links to past reviews and translations of her interviews:

Book Review: Ume Kayo - Ume-me

Video: Ume Kayo 

The Return of the Near-Future Photography Skill Talk

Part 1 / Part 2 / Part 3 

English Transcript:

To tell you guys the good news, I have been accepted and I am currently have been attending at the San Francisco Art Institute. I feel that the school works more on conceptual ideas more while still addressing the technical issues of making a photograph. I am really excited going to this school this semester and I look forward sharing what I have learned. Let me know again if you guys have any questions = ) 

This passage is called "Some Rules for Students and Teachers by John Cage" This passage has been handed out in two of my classes and is a worth while read. I think that these rules are great advice for students who are just getting into something new and for teachers who only expect the best out of their students. Hope you guys enjoy reading this as much as I have = ) 

RULE ONE: Find a place you trust, and then try trusting it for awhile.

RULE TWO: General duties of a student - pull everything out of your teacher; pull everything out of your fellow students.

RULE THREE: General duties of a teacher - pull everything out of your students. 

RULE FOUR: Consider everything an experiment.

RULE FIVE: be self-disciplined - this means finding someone wise or smart and choosing to follow them. To be disciplined is to follow in a good way. To be self-disciplined is to follow in a better way.

RULE SIX: Nothing is a mistake. There's no win and no fail, there's only make.

RULE SEVEN: The only rule is work. If you work it will lead to something. It's the people who do all of the work all of the time who eventually catch on to things.

RULE EIGHT: Don't try to create and analyze at the same time. They're different processes.

RULE NINE: Be happy whenever you can manage it. Enjoy yourself. It's lighter than you think.

RULE TEN: "We're breaking all the rules. Even our own rules. And how do we do that? By leaving plenty of room for X quantities." (John Cage)

HINTS: Always be around. Come or go to everything. Always go to classes. Read anything you can get your hands on. Look at movies carefully, often. Save everything - it might come in handy later. 

I finally found this gem on the internet and I highly suggest giving this video a good listen. I sometimes listen to this video whenever I get ready to go outside and photograph life in the streets of my downtown area. Henri Cartier-Bresson has always been a source of inspiration for me whenever I get burned out. Yes, I do get burned out from photography from time to time but when I listen to my heroes like Henri Cartier-Bresson, I get reinvigorated with the idea to move on and to get out of my own head space. I can just look at his photographs in his books like À Propos de Paris over and over and have a sense that the good is out there for us to see, you just have to have you chin up to see it. I hope you enjoyed this video as much as I have.  

I also made a transcript so that other people can get it translated through Google Translate if you happed to be in another country.  

Transcript:

The Decisive Moment

Photographs and Words by Henri Cartier-Bresson

I've been taking pictures when I was very young, I think. I don't remember what age. I started by painting and drawing, and for me photography was a means of drawing and that's all.

Immediate sketch done with intuition and you can't correct it. If you have to correct it, it's your next picture. But life is very fluid, well um…Sometimes the pictures disappeared and there's nothing you can do. You can't tell the person, “Oh, please smile again, do that gesture again!” Life is once, forever.

I'm not interested in any documenting. Documenting is extremely dull, and journalism. I’m a very bad reporter and photojournalist. Capa told me, when I had an exhibition at the Museum of Modern Art in 1946, he said, “No, you be very careful. You mustn’t have a label of a Surrealist photographer.”

All my training was Surrealism. I still feel very close to be a Surrealist. But he said, “If you are labeled as a Surrealist photographer, you won't go any further. You won't have an assignment and you're going to be like a hot houseplant. Just forget it. Do whatever you like, but the label should be photojournalist.” And Capa was extremely sound.

So I never mentioned Surrealism. It's my private affair. And what I want, what I'm looking for, it's my business. And I'm not a reporter. It's accidentally. It's on the side.

If I go to a place, it's to try and have a picture which concretizes a situation which at one glance has everything and which has the strong relations of shapes, which for me is essential. For me it's a visual pleasure. It's the rhythm the way...The head falls here. This goes back. There's a rhyme between different elements. There's a square here, rectangle, another rectangle. So it's all these problems which I'm preoccupied with. But the greatest joy for me is geometry. That means the structure. You can go shooting for shapes or patterns and all these but it's a sensuous pleasure, an intellectual pleasure at the same time to have everything at the right place. It's a recognition of an order, which is in front of you.

Like in this picture, the portrait of a grandmother and a little girl. It's all these relations of curves, of design, of lines. The difference between a good picture and a mediocre picture is a question of millimeters – small, small difference but it's essential.

And if I take the picture from there it's another arrangement of that. And it's very small moves I'm doing. I'm not jumping up and down. It's a relation between your nose, your eyes, the window behind, and that's my pleasure to establish, these relations. And sometimes there's no picture. Alright there's no picture.

Photojournalism, photojournalism. It's worth noting. Well, some journalists are wonderful writers and others are just putting facts one after the other, and facts are not interesting. Facts are not interesting. It's a point of view on facts which is important. And in photography it doesn’t need evocation. If you're evoking, it causes the evokee.

I took some photographs; it's like a Chekhov story or a Mufasa story. It's a quick thing and there's a whole world in it. Photographs I care for are photographs that you can look for more than two minutes. But it's extremely long. Photographs you can look at over and over again, not many. Not many.

Portraits

The most difficult thing for me is that of a portrait. It's very difficult. It's a question mark you put on somebody, trying to see who is it, what does it amount to, what’s the significance of that face. And the difference between a portrait and a snapshot is that a portrait has a…the person agreed to be photographed. It's not at all like somebody you're seeing, you catch in the street and up like this.

I like to take people in their, how do you call it, in their environment. The animal in his a habitat. And it's a habitat, yes.

And it's fascinating coming in like this in people’s homes, looking at them. But you have to be like a cat, not this term.

And tiptoe always, and tiptoes. But certainly it's like a biologist and his microscope, when you study everything it doesn’t react the same way as when it's not studied. And you have to try and put your camera between the skin of a person and his shirt, which is not a very easy thing.

And the attitudes of people are so different in front of a camera. Some are embarrassed, some are ashamed, some hate to be photographed, and others are showing off and... You paint people very quickly. You see people naked through the viewfinder. You see them stripped naked and it's sometimes very embarrassing.

And I remember I had to take for Vogue a very, very old lady, a Bostonian, wonderful old lady. She smiled at me but that a sort of smile, but you can smile back at her. She wanted to check on the picture before publication and I said, “I'm sorry, I've never done that. It's a question of trust.” And she agreed. She said, “Oh, my wrinkles.” And I told her, “That's the interesting thing, your wrinkles, after all. It depends how they fall, which is true. It's life. It's a mark of life. It depends how people have been living, and all this is written on their face. At this certain age you got the face you deserve, I think.”

Usually when taking a portrait I feel like putting a few questions just to get the reaction of a person, talking and sitting as possible. But still you must establish a contact of some sort.  Whereas with Ezra Pound, I stood in front of him for maybe an hour and a half in utter silence. We're looking at each other in the eyes and I took maybe altogether, one good photograph, four others possible, and two which were not interesting. It was about six pictures taken in an hour and a half. And no embarrassment whatsoever.

Sometimes people ask, “How many pictures do you take? Do you take many pictures a day? How was it…”

Well, there’s no rule. Sometimes like in this picture in Greece, well I saw the frame of the whole thing and I waited for somebody to pass. And I snapped two pictures. One was of an Orthodox priest with a cylinder hat, and a little girl. The little girl was exactly in relation with the other shapes whereas him it was something clumsy. It was another conception. And sometimes there was not a second choice because the people were gone.

That's why there's a lot of great anxiety, this profession, because you're always waiting, “What is going to happen, what, what, what, what…” It's what? Yes, uh, um. Like this… It's all the time. You're shooting, you say, “Yes, yes, maybe yes.” But you should'nt over to shoot.

It's like overeating or overdrinking. You have to eat, you have to drink, but over is too much because by the time you press your arm or shutter once more and maybe the picture was in between. It's a fraction of a second. It's an instinct.

You got to be quick, quick, quick, like an animal and a prey, broom! Like this, you grasp it and people don't notice what you’ve taken it.

But it's a question of awareness. Everything in your body is there. Wurrrhh! That's beautiful. For me it's a physical pleasure, photography. It doesn't take much brains. It doesn't take any brains. It takes sensitivity, a finger and two legs. But it's beautiful when you feel that your body is working with all…like it's full of air and you're in contact with nature and so on. It's beautiful. Boom… Got it! Wurrrhh! You see?

I'm extremely impulsive, terribly. It's really a pain in the neck for my friends and family. I'm a bunch of nose. But I take advantage of it in photography. I never think. I act, quick, like this and ah…

You have to forget yourself. You have to be yourself and you have to forget yourself so that the image comes much stronger, what you want and what you see. If you get involved completely in what you're doing, and not thinking. Ideas are very dangerous. You must think all the time but when you're photographing you're not trying to push a point to explain something or prove something. You don't prove anything. It comes by itself.

The first impression is essential. The first glance, the shock or surprise, it jumps at you. You nourish it by your own life, whether your taste or the intellectual luggage that you carry, your experiences, your love, your hate. It's really fully enriching.

And poetry is the essence of everything. There are two elements which are suddenly in conflict, like a spark between two elements. But it's given very seldom and you can't look for it. It's like if you look for inspiration, you don't think. It comes very enriching yourself, and living. You say, “I’ll wait for the top pictures, the great pictures.” Well, it's seldom you make a great picture. You have to milk the cow quite a lot and get plenty of milk to make a little cheese.

I don't know if it needs to be dramatically new. There's no new ideas in the world. There's only new arrangements of things. Everything is new, every minute is new. But it means reexamining. Life changes every minute. The world is being created every minute and the world is falling to pieces every minute. Death is present everywhere as soon as we're born. And it is a very beautiful thing, the tragic…What is it… The tragic… What is tragic in life, because there's always two poles and one cannot exist without the other one. So these tensions, I'm always ah...moved by. 

This picture I like, in a way. I was driving in Greece in the mountains in the north. There was a child on the road. He was keeping goats there and I waved and there was something… Suddenly he started walking on his hands. There was such an exaltation, such a joy in that barren country, in that dusty road.

I like English people very much, and it's the most exotic country for a Frenchman. It's a biggest difference just to go to England and see English people, even now.

How can I say politely…When I'm in England I feel like I'm sitting in a very comfortable armchair and I'm looking at the stage and all these actors. I can applaud them but they got a set of rules, wonderful but I'm not supposed to step in and jump on the stage and play with them, you see? If you look at the play, you shouldn't applaud too loud and I enjoyed it tremendously.

I think everything is interesting if you're scratched... but at the same time you can't just can't photograph everything you see. There's some places where the pulse beats more. But not as a…after the war, I don't know but I had a feeling that going to colonial countries was important, what changes are going to take place there. That's why I spent three years in the Far East.

I was in India just at the death of Gandhi after the partition between India and Pakistan. And it's to be present when there's a change of situation, when there's the most tension.

And I've been living in India for about a year, even more, and the problem of demography, immensity of space, of people, preoccupied me very much. I like to live in the place. I don't like to live for short. Over there is said something what is made with time, time where expected or something like this.

I spent in China the last six months of the Kuomintang regime. I watched its falling to pieces. And I was there when the Communists arrived. I stayed there another six months. The Chinese have always been between a chaotic and stern and puritanical regime. For centuries it has been from one to the other. I was very lucky to be just at that change. The tradition and what remains of a tradition and at the same time what is a revolutionary attitude and another conception of man.

To interest people in faraway places, to shock them, to delight them, is not too difficult. But the most difficult thing is in your own country. You know too much it's…When it's on your own block, it's such a routine. It's quite difficult to get out, when I'm going to a butcher or... Well, places where I'm all the time, I know too much and not enough. And to be lucid about it is the most difficult.

But your mind must be open. Open. Aware. Aware like this, like having a radar, search light or like this. And that's why anybody has done 10 good photographs in his life. What is interesting is the consistency, to keep on, on, on, on. It's always reexamining things, trying to be more lucid and free and go deeper and deeper. I don't know, because it comes as a weapon. You can't prove anything but at the same time, it is a weapon. It's such a propaganda means, photography. That’s it all. But it's a way of shouting the way you feel.

I love life, I love human beings. I hate people also. You see, the camera, it can be a machine gun. It can be a psychoanalytical couch. It can be a warm kiss. It can be a sketchbook, the camera. And even for me. That's strictly my way of feeling. I enjoy shooting a picture, being present. It's a way of saying, “Yes! Yes! Yes!” It's like the last three words of Ulysses of Joyce, which is one of the tremendous works which have ever been written, it's “Yes, yes, yes!” And it started like that. It's “Yes, yes, yes!”

And there's no maybe. All the maybes should go to trash, because it's the instance, it's the present, it's the moment, it’s there. And it's a respect of it, an enjoyment. It's the enjoyment of just saying, “Yes!” Even if it's something you hate, “Yes!” It's an affirmation. “Yes!”

Part 2 / Part 3 / Part 4 / Part 5