American - Photographer | August 13, 1952 - December 26, 2002
I was an economics major, which I enjoyed because I had a good business sense.
Herb Ritts
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I'd go down to the end of my street, to a garage that had a certain feeling about it, or a particular light; I'd take a picture of a friend who needed a head shot. That's how I learned, instead of having school assignments and learning camera techniques.
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I'm pretty selective. I generally edit the contact sheets and then do work prints. Because I have my own lab and printers, I can afford the luxury of going through the contact sheets for black-and-white, making up work prints, seeing them big, and honing them down.
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Regardless of whether you speak the language or are familiar with a culture, the picture should hold up.
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That's why I felt so at home when I went to Africa. It didn't matter that I was halfway around the world in a foreign country, because all those elements are universal. And I think that's one thing about my work: It's universal.
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The education, the cultural awareness, is different in Europe, especially in France, from that in the United States. So I think the public will be much more appreciative of many images.
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Well, I liked it - that was the main thing. I liked it, but I didn't think of it in terms of a career. I didn't really know; I didn't really think about it. One thing just led to another until finally I quit my job as a salesman and found myself working as a photographer.
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What I particularly liked was that, coming from California and not being involved in the New York scene, I developed my personal way, in my own way, at my own pace.
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I did grow up next door to Steve McQueen, who was a very famous movie star at the time, but as a kid it didn't impress me. We always had great fun with him. He would take us out on Sundays on his motorcycles, riding around in the desert; he was like a second father.
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