00:00:19.000 --> 00:00:19.800
(ambient city noises)

00:00:59.440 --> 00:01:00.080
(electronic buzzing)

00:01:04.600 --> 00:01:08.520
(downtempo electronic music)

00:01:08.999 --> 00:01:13.520
- I think when I was young,

00:01:14.000 --> 00:01:15.240
when I was a teenager,
I loved to travel.

00:01:15.400 --> 00:01:17.600
I had an obsession
with traveling

00:01:17.760 --> 00:01:19.920
and I think that
the camera became

00:01:19.999 --> 00:01:22.240
a sort of passport, a way

00:01:22.400 --> 00:01:24.760
to explore the world and to try

00:01:24.920 --> 00:01:27.040
to understand the world
that I hadn't grown up with.

00:01:27.200 --> 00:01:30.680
(downtempo electronic music)

00:01:31.480 --> 00:01:35.560
That's where my passion began.

00:01:36.640 --> 00:01:37.999
It sort of took me to
different cultures,

00:01:38.040 --> 00:01:40.320
to different peoples

00:01:40.480 --> 00:01:42.000
and to different places.

00:01:42.160 --> 00:01:43.560
And that's always been with me,

00:01:43.720 --> 00:01:45.999
that sense of adventure
and of walking

00:01:46.120 --> 00:01:49.880
and of exploring.

00:01:49.999 --> 00:01:51.480
And the camera was
a mechanism for that

00:01:51.640 --> 00:01:54.999
from a very early age.

00:01:55.120 --> 00:01:56.320
(downtempo electronic music)

00:02:03.280 --> 00:02:03.999
I'm Stuart Franklin.

00:02:08.440 --> 00:02:09.999
(piano music)

00:02:27.040 --> 00:02:27.840
(acoustic guitar music)

00:02:34.999 --> 00:02:37.000
- [Voiceover]
Photography has a mission

00:02:39.999 --> 00:02:41.640
as an eyewitness account serving

00:02:41.800 --> 00:02:43.000
to raise human consciences

00:02:43.160 --> 00:02:45.200
and pose questions
of vital importance.

00:02:45.360 --> 00:02:48.120
Stuart Franklin has
never stopped documenting

00:02:48.280 --> 00:02:50.680
the various aspects of nature

00:02:50.840 --> 00:02:52.360
in its values and principles,

00:02:52.520 --> 00:02:54.999
but most of all, in its
complex relationship with man.

00:02:55.000 --> 00:02:58.999
His field of action
is the whole world,

00:02:59.040 --> 00:03:01.280
explored with his camera,
but even before that,

00:03:01.440 --> 00:03:04.320
studied at Oxford at the
faculty of geography.

00:03:04.480 --> 00:03:07.480
(acoustic guitar music)

00:03:09.280 --> 00:03:12.480
His absolute references
and the values

00:03:14.440 --> 00:03:16.760
concealed in every
shot are instead

00:03:16.920 --> 00:03:19.200
those of Magnum Photos.

00:03:19.360 --> 00:03:21.280
(acoustic guitar music)

00:03:22.440 --> 00:03:26.280
(ambient office noises)

00:03:35.360 --> 00:03:36.720
- Magnum had an enormous
role in my life and work.

00:03:40.520 --> 00:03:43.400
I mean, I've been with
Magnum for nearly 30 years.

00:03:43.560 --> 00:03:45.999
It's an awful lot of time.

00:03:46.120 --> 00:03:47.880
And it's kind of a family.

00:03:47.999 --> 00:03:50.520
And it's a cooperative.

00:03:50.680 --> 00:03:52.720
Magnum began in 1947,
really to try to

00:03:53.640 --> 00:03:57.720
promote the idea that
we, the photographers,

00:03:58.800 --> 00:04:01.440
own our own copyright.

00:04:01.600 --> 00:04:03.600
We own our own work and
that's very important.

00:04:03.760 --> 00:04:06.480
Apart from that,
I think there was

00:04:06.640 --> 00:04:07.720
a great collegiate,
and there still is,

00:04:07.880 --> 00:04:09.800
collegiate atmosphere in Magnum.

00:04:09.960 --> 00:04:11.960
We share a lot.

00:04:11.999 --> 00:04:13.840
We're quite critical, we look.

00:04:13.999 --> 00:04:16.640
And even at our annual meeting
at the end of the year,

00:04:16.800 --> 00:04:20.080
we quite often show
work to other people

00:04:20.240 --> 00:04:22.640
and talk about it.

00:04:22.800 --> 00:04:23.975
I think the feedback is for...

00:04:23.999 --> 00:04:26.999
(electronic music)

00:04:27.040 --> 00:04:29.960
- [Voiceover] Among Stuart
Franklin's photo features

00:04:29.999 --> 00:04:31.600
on human conurbations and
the wonders of the planet,

00:04:31.760 --> 00:04:34.800
there is, however,
one photo symbol

00:04:34.960 --> 00:04:37.560
which will go down in
history in the memory

00:04:37.720 --> 00:04:39.680
of that Chinese spring of 1989

00:04:39.840 --> 00:04:42.560
that would mark a turning point

00:04:42.720 --> 00:04:44.160
in the Communist dictatorship.

00:04:44.320 --> 00:04:47.480
The peaceful demonstrations
of the students

00:04:47.640 --> 00:04:49.560
had begun in April after
the death of Hu Yaobang

00:04:49.720 --> 00:04:53.240
as a simple commemoration
of the beloved

00:04:53.400 --> 00:04:55.360
reformist leader of the party.

00:04:55.520 --> 00:04:57.560
And yet the authorities,
led by President Li Peng,

00:04:57.720 --> 00:05:00.999
and the elderly
leader, Deng Xiaoping,

00:05:01.000 --> 00:05:03.600
immediately accused the students

00:05:03.760 --> 00:05:04.999
of plotting against
the government.

00:05:05.080 --> 00:05:06.999
Not much time would go
by before the repression

00:05:07.040 --> 00:05:09.120
succeeded in silencing
once and for all

00:05:09.280 --> 00:05:11.360
the mottos and slogans of
hundreds of young demonstrators.

00:05:11.520 --> 00:05:14.975
(bright piano music)

00:05:14.999 --> 00:05:18.999
- We had a very sort of
charismatic editorial director

00:05:19.040 --> 00:05:22.320
in Magnum in New
York, Bob Danon.

00:05:22.480 --> 00:05:24.999
And he and I, I remember
having quite a few discussions

00:05:25.120 --> 00:05:28.080
about the sort of emerging
situation in China.

00:05:28.240 --> 00:05:31.240
And it was quite
clear to anybody who

00:05:31.400 --> 00:05:33.999
knew anything of Chinese history

00:05:34.000 --> 00:05:36.040
that to oppose the
government in the way

00:05:36.200 --> 00:05:38.760
that the students and
workers were at that time

00:05:38.920 --> 00:05:41.680
was pretty significant news.

00:05:41.840 --> 00:05:44.000
It was very unusual.

00:05:44.160 --> 00:05:45.880
This is a very homogeneous

00:05:45.999 --> 00:05:48.360
cohesive society.

00:05:48.520 --> 00:05:51.440
And so something
musta been badly wrong

00:05:51.600 --> 00:05:54.120
for some of the
brightest and best

00:05:54.280 --> 00:05:58.680
of that society to gather
in Tiananmen Square

00:05:58.840 --> 00:06:02.999
and oppose the regime
through demonstrations

00:06:03.000 --> 00:06:06.920
and then a hunger
strike and so forth.

00:06:06.999 --> 00:06:08.999
So Bob Danon, Magnum
asked me to go

00:06:09.120 --> 00:06:13.480
and to try to cover the news.

00:06:13.640 --> 00:06:15.280
And I started, really,
to try to capture

00:06:15.440 --> 00:06:19.440
the story as it unfolded
in its different ways.

00:06:19.600 --> 00:06:23.480
And every day was different.

00:06:23.640 --> 00:06:25.560
One day, I would go
to the university

00:06:25.720 --> 00:06:27.320
where they were
printing pamphlets.

00:06:27.480 --> 00:06:30.240
Another day I wold
go and look at

00:06:30.400 --> 00:06:33.360
a small demonstration being
prepared somewhere else,

00:06:33.520 --> 00:06:36.360
Statue of Liberty and
so on and so forth.

00:06:36.520 --> 00:06:38.680
So they're many
aspects to the story,

00:06:38.840 --> 00:06:40.920
but the nearer we got
to June the 3rd, 4th,

00:06:40.999 --> 00:06:45.080
the more the atmosphere changed.

00:06:45.240 --> 00:06:46.880
When I arrived in
Beijing, it was more like,

00:06:47.680 --> 00:06:51.640
sort of little bit like a
rock festival in atmosphere.

00:06:52.840 --> 00:06:56.160
They were playing
the Marseillaise,

00:06:56.320 --> 00:06:58.975
singing, there was
a lot of music.

00:06:58.999 --> 00:07:00.680
But at the same time, there was

00:07:00.840 --> 00:07:02.600
a hunger strike going on
on the side of the square.

00:07:02.760 --> 00:07:05.120
But then more and
more soldiers arrived

00:07:05.280 --> 00:07:07.560
and the situation became
more and more tense

00:07:07.720 --> 00:07:10.999
and uncertain.

00:07:11.080 --> 00:07:12.160
There were rumors flying around

00:07:12.320 --> 00:07:14.080
about the Chinese army,
or various elements

00:07:14.240 --> 00:07:17.440
of the Chinese army, opposing
other elements and so on.

00:07:17.600 --> 00:07:21.440
And the sense that eventually,
people would be cleared

00:07:21.600 --> 00:07:25.999
from the square.

00:07:26.040 --> 00:07:27.960
So the days went on

00:07:28.999 --> 00:07:30.999
and I photographed
and tried to send

00:07:31.080 --> 00:07:34.000
pictures back to Paris.

00:07:34.160 --> 00:07:36.480
(sad piano music)

00:07:36.640 --> 00:07:40.760
- [Voiceover] Like many
other Magnum photographers,

00:07:40.920 --> 00:07:42.960
Stuart Franklin got
his start in areas

00:07:42.999 --> 00:07:44.999
of extreme poverty and distress,

00:07:45.080 --> 00:07:47.560
documenting famines,
conflicts, and the

00:07:47.720 --> 00:07:49.999
complexities of human existence.

00:07:50.000 --> 00:07:52.000
(sad piano music)

00:07:52.160 --> 00:07:55.080
- I suppose the most instructive

00:07:55.240 --> 00:07:57.720
were the work I did during

00:07:57.880 --> 00:08:00.560
the 1983-84 famine, where

00:08:00.720 --> 00:08:05.200
in Sudan and Ethiopia,
where I really understood

00:08:06.240 --> 00:08:10.040
how difficult it
was to communicate

00:08:11.400 --> 00:08:15.800
the very complex crisis
that was happening

00:08:15.960 --> 00:08:19.120
in Africa at that time
using photography.

00:08:19.280 --> 00:08:22.760
It was very tough to,

00:08:22.920 --> 00:08:25.760
I mean, it's all very well
to take one photograph

00:08:25.920 --> 00:08:28.000
that tells the
story about somebody

00:08:28.160 --> 00:08:30.999
suffering from famine.

00:08:31.040 --> 00:08:32.120
It's much harder to
tell a bigger story

00:08:32.280 --> 00:08:34.360
about why a famine is happening,
what's happening there.

00:08:34.520 --> 00:08:38.040
There was no shortage of food

00:08:38.200 --> 00:08:40.120
in the Horn of Africa at
that time, but it was all

00:08:40.280 --> 00:08:42.640
being diverted to the
Ethiopian army at the time.

00:08:42.800 --> 00:08:46.200
How can you tell that story
coherently as a photographer?

00:08:46.360 --> 00:08:50.400
So, I sort of had to deal
with challenges like that.

00:08:50.560 --> 00:08:54.800
I think the other thing
I learned in covering war

00:08:56.999 --> 00:08:58.800
is that I'm not this
brave (laughing),

00:09:02.000 --> 00:09:05.040
courageous photojournalist,

00:09:05.200 --> 00:09:08.040
as many of my colleagues
at the time were.

00:09:08.200 --> 00:09:10.560
I just got very, very scared in

00:09:10.880 --> 00:09:15.560
quite difficult situations.

00:09:15.999 --> 00:09:17.120
It is awful to put
yourself in harm's way

00:09:17.280 --> 00:09:21.960
in that way and a
lot of my colleagues

00:09:21.999 --> 00:09:23.960
were just extraordinarily
tough and brave.

00:09:23.999 --> 00:09:28.720
I also learnt that a lot
of the more powerful,

00:09:28.880 --> 00:09:30.800
the most powerful
images of conflict,

00:09:30.960 --> 00:09:33.120
come not from the frontline,

00:09:33.280 --> 00:09:34.960
not from being at the frontline,

00:09:34.999 --> 00:09:36.800
but perhaps being
a few feet back,

00:09:36.960 --> 00:09:38.600
a few meters back
and looking at how

00:09:38.760 --> 00:09:41.000
the woman and
children are coping,

00:09:41.160 --> 00:09:42.640
how the families are coping,

00:09:42.800 --> 00:09:44.240
how people are coping at a time,

00:09:44.400 --> 00:09:46.320
generally, of tragedy.

00:09:46.480 --> 00:09:47.999
(sad piano music)

00:09:48.080 --> 00:09:51.840
(voice speaking in
Chinese over speaker)

00:10:00.520 --> 00:10:01.920
- [Voiceover] The night between
the 3rd and the 4th of June,

00:10:05.680 --> 00:10:07.999
the tanks of the
Chinese government

00:10:08.080 --> 00:10:09.800
entered the Tiananmen Square

00:10:09.960 --> 00:10:11.720
to put an end to the protests.

00:10:11.880 --> 00:10:13.480
The order is to clear the
square by dawn at all costs.

00:10:14.600 --> 00:10:19.200
The night will go by quickly

00:10:19.360 --> 00:10:20.975
amidst the flames and
the echoes of shots,

00:10:20.999 --> 00:10:23.880
with the spilling of the blood
of hundreds of young victims.

00:10:23.999 --> 00:10:27.120
Even their parents will
be savagely mowed down

00:10:27.280 --> 00:10:29.975
by the soldiers' guns
when they arrived

00:10:29.999 --> 00:10:32.000
in the square the next morning
in search of their children.

00:10:33.520 --> 00:10:35.920
- I went back to the hotel

00:10:38.680 --> 00:10:40.600
and stayed for a few
hours in the hotel.

00:10:40.760 --> 00:10:44.520
By that time, the bottom level,

00:10:44.680 --> 00:10:48.160
the lobby of the hotel,
had been taken over

00:10:48.320 --> 00:10:50.680
by the Chinese internal
security people.

00:10:50.840 --> 00:10:54.840
And they were, sort of,
searching for cameras.

00:10:54.999 --> 00:10:57.680
It generally became very
difficult to work after that

00:10:57.840 --> 00:11:01.840
and in fact, impossible
to leave the hotel.

00:11:01.999 --> 00:11:05.120
So the following
morning, I found myself

00:11:05.280 --> 00:11:08.520
stuck, really, in my room

00:11:08.680 --> 00:11:09.999
wondering when there was
gonna be a knock on the door

00:11:10.000 --> 00:11:13.280
and a whole bunch of
people asking for film,

00:11:13.440 --> 00:11:15.999
asking for the
cameras and so on.

00:11:16.120 --> 00:11:18.999
But anyway, we found a balcony

00:11:19.040 --> 00:11:20.999
and started to photograph
the movement of the tanks

00:11:21.000 --> 00:11:25.640
coming out of the square

00:11:25.800 --> 00:11:27.999
from the balcony,

00:11:28.040 --> 00:11:31.320
which wasn't very satisfactory.

00:11:31.480 --> 00:11:32.800
We would much rather
been down on the street,

00:11:32.960 --> 00:11:34.120
but we couldn't get out.

00:11:34.280 --> 00:11:35.999
(ambient city noise)

00:11:37.520 --> 00:11:40.999
(downtempo electronic music)

00:11:48.800 --> 00:11:49.520
And I tried to photograph

00:11:53.960 --> 00:11:55.640
everything as it happened.

00:11:55.800 --> 00:11:56.840
There was a row of students

00:11:56.999 --> 00:11:58.560
facing off a row of
soldiers at one point,

00:11:58.720 --> 00:12:01.160
probably at about
9:00 in the morning.

00:12:01.320 --> 00:12:03.120
They were dispersed
and then the tanks

00:12:03.280 --> 00:12:05.920
forced their way
through the students

00:12:05.999 --> 00:12:09.160
down towards almost just below

00:12:09.320 --> 00:12:12.000
my balcony where I
was photographing.

00:12:12.160 --> 00:12:15.040
And then, as you say,
this lone protester

00:12:15.200 --> 00:12:17.999
jumped out from the crowd

00:12:18.040 --> 00:12:19.800
and started remonstrating
with the tank driver,

00:12:19.960 --> 00:12:22.680
climbed on top of the tank,

00:12:22.840 --> 00:12:24.400
came back down with
his shopping bag

00:12:24.560 --> 00:12:26.999
in images that everybody's seen.

00:12:27.120 --> 00:12:30.280
I felt at the time that

00:12:30.440 --> 00:12:33.640
it wasn't very powerful
as a photograph.

00:12:35.120 --> 00:12:37.280
I felt we'd always grown up

00:12:37.440 --> 00:12:39.760
with the view, I think
it was Robert Capa's

00:12:39.920 --> 00:12:43.040
quote that if a picture
isn't good enough,

00:12:43.200 --> 00:12:45.000
you're not close enough.

00:12:45.160 --> 00:12:46.880
I felt a long way away.

00:12:46.999 --> 00:12:48.999
And I have these strong memories

00:12:49.120 --> 00:12:50.880
of the famous pictures of

00:12:50.999 --> 00:12:54.640
the Prague Spring
of the Russian tanks

00:12:54.800 --> 00:12:58.200
coming in and so
on and so forth.

00:12:58.360 --> 00:12:59.520
So I was a long way away

00:12:59.680 --> 00:13:01.000
trying to capture what I
felt was a significant event.

00:13:01.160 --> 00:13:04.360
I did manage to do that
later in the morning.

00:13:04.520 --> 00:13:06.320
We went out, we got out.

00:13:06.480 --> 00:13:07.800
We got away and we visited
a couple of hospitals.

00:13:08.999 --> 00:13:12.200
What I did was I photographed
the scene as I saw it,

00:13:13.999 --> 00:13:18.080
the demonstrator coming out,

00:13:18.240 --> 00:13:20.960
arguing with the tank driver,

00:13:22.080 --> 00:13:23.920
being taken to the
other side of the street

00:13:23.999 --> 00:13:26.880
by his colleagues
and then the tanks

00:13:26.999 --> 00:13:28.999
carrying on moving forward.

00:13:29.040 --> 00:13:31.975
So that's how that morning

00:13:31.999 --> 00:13:35.400
happened.

00:13:35.560 --> 00:13:36.600
(emotional electronic music)

00:13:37.280 --> 00:13:41.600
- [Voiceover] As
was the case during

00:13:42.440 --> 00:13:43.440
the Tiananmen Square uprisings,

00:13:43.600 --> 00:13:45.440
the human factor
will be at the center

00:13:45.600 --> 00:13:47.400
of every one of Stuart
Franklin's photo reports.

00:13:47.560 --> 00:13:50.880
In tragedies like that
documented a few years

00:13:50.999 --> 00:13:53.160
earlier at the Heysel Stadium

00:13:53.320 --> 00:13:55.240
during the European
Cup Final between

00:13:55.400 --> 00:13:57.160
Juventus and Liverpool.

00:13:57.320 --> 00:13:58.600
(downtempo electronic music)

00:13:58.760 --> 00:14:02.880
Or like the simple telling
of paradoxical stories

00:14:02.999 --> 00:14:05.480
often reported as curiosity
items in magazines,

00:14:05.640 --> 00:14:08.975
but which take on
a diferent light

00:14:08.999 --> 00:14:10.760
and particular
appeal in his photos,

00:14:10.920 --> 00:14:13.800
like the feature on Julia Hill,

00:14:13.960 --> 00:14:15.520
the American girl who will live

00:14:15.680 --> 00:14:16.800
for more than a year
in a huge sequoia tree

00:14:16.960 --> 00:14:19.240
in an attempt to save
it from being felled.

00:14:19.400 --> 00:14:22.320
(downtempo electronic music)

00:14:23.920 --> 00:14:26.800
- I think that our
physical relationship

00:14:26.960 --> 00:14:30.720
with other people in society

00:14:30.880 --> 00:14:33.999
from our very
earliest beginnings

00:14:34.040 --> 00:14:36.600
in the womb to being
babies and young children,

00:14:36.760 --> 00:14:40.999
moments that most of us
have completely forgotten,

00:14:41.000 --> 00:14:43.680
but our brains haven't
forgotten them,

00:14:43.840 --> 00:14:46.080
our subconscious
hasn't forgotten

00:14:46.240 --> 00:14:49.280
our engagement with each other,

00:14:50.640 --> 00:14:52.080
with our parents, with
siblings if we have them.

00:14:52.240 --> 00:14:57.080
And I think that very sort
of physical connection

00:14:57.800 --> 00:15:02.120
informs a lot of the way we work

00:15:02.960 --> 00:15:06.080
and certainly informs
the way I photograph.

00:15:06.240 --> 00:15:08.320
I've recently been
working a lot in landscape

00:15:08.480 --> 00:15:12.280
and one of the interests for me

00:15:12.440 --> 00:15:14.920
is to what extent, is
to why I'm interested

00:15:14.999 --> 00:15:17.975
in particular aspects
of a landscape,

00:15:17.999 --> 00:15:21.320
why I abstract in
particular ways.

00:15:21.480 --> 00:15:24.400
I think Merleau-Ponty said,

00:15:24.560 --> 00:15:26.280
"Once we see the world through
the spectacles of memory."

00:15:26.440 --> 00:15:29.999
And I think that
almost everything I see

00:15:30.040 --> 00:15:34.480
comes or experience
or get excited about

00:15:34.640 --> 00:15:38.760
peaks some kind of memory in me

00:15:38.920 --> 00:15:42.000
in some way.

00:15:42.160 --> 00:15:42.999
And that might just be a line,

00:15:43.080 --> 00:15:45.720
some form in the landscape.

00:15:45.880 --> 00:15:47.680
Might be the form
of a face or an arm

00:15:47.840 --> 00:15:51.880
or something, but I
think we find these

00:15:52.880 --> 00:15:56.680
reminders of our memory quite
comforting and interesting.

00:15:57.999 --> 00:16:02.680
(mumbling)

00:16:02.840 --> 00:16:04.800
- Fines are looking a
little bit too contrasty

00:16:04.960 --> 00:16:07.760
so I'm takin' the
gray down just to get

00:16:07.920 --> 00:16:10.880
bit more tonality in.

00:16:10.999 --> 00:16:13.040
(mumbling)

00:16:14.360 --> 00:16:16.320
Yeah, yeah, for exhibition.

00:16:16.480 --> 00:16:18.960
So let's just do the beginning.

00:16:20.080 --> 00:16:22.520
(mumbling)

00:16:22.680 --> 00:16:25.680
(mumbling)

00:16:27.040 --> 00:16:28.999
What, today?

00:16:29.080 --> 00:16:29.880
(mumbling)

00:16:29.999 --> 00:16:32.080
So when was this taken, again?

00:16:33.240 --> 00:16:34.280
This was quite some time ago.

00:16:34.440 --> 00:16:36.000
(mumbling)

00:16:36.160 --> 00:16:39.120
Yeah?

00:16:39.280 --> 00:16:40.320
And this (mumbling)
corporate job or?

00:16:40.480 --> 00:16:42.800
(mumbling)

00:16:42.960 --> 00:16:46.640
Course the other thing is
you're shooting on film

00:16:46.800 --> 00:16:49.840
so there's no preview.

00:16:49.999 --> 00:16:51.360
(mumbling)

00:16:51.520 --> 00:16:54.280
Okay, so just a
little bit burning in

00:16:55.320 --> 00:16:57.280
on the left-hand side.

00:16:57.440 --> 00:16:58.400
(downtempo electronic music)

00:17:05.200 --> 00:17:06.240
I love the atmosphere,
the sort of mist

00:17:10.360 --> 00:17:12.640
coming off of the...

00:17:12.800 --> 00:17:13.840
- It worked out really well,

00:17:13.999 --> 00:17:15.999
as ever, fantastic.

00:17:18.040 --> 00:17:19.400
- Ya didn't get as far as
goin' in yourself, did you?

00:17:23.200 --> 00:17:25.080
(laughing)

00:17:25.240 --> 00:17:27.480
(downtempo electronic music)

00:17:27.640 --> 00:17:30.080
(mumbling)

00:17:30.240 --> 00:17:31.160
- I think, well,

00:17:31.320 --> 00:17:33.120
should never judge
under red light,

00:17:33.280 --> 00:17:34.560
but I think it might just need

00:17:34.720 --> 00:17:36.520
just a bit more density.

00:17:36.680 --> 00:17:38.000
(mumbling)

00:17:38.160 --> 00:17:42.840
Never like to judge
under red light.

00:17:42.999 --> 00:17:43.999
(laughing)

00:17:44.080 --> 00:17:46.280
Lights.

00:17:46.440 --> 00:17:47.999
- [Stuart] Okey dokey.

00:17:50.360 --> 00:17:51.720
What've we got here?

00:17:52.720 --> 00:17:53.480
Yeah, looks good, isn't it?

00:17:57.880 --> 00:17:58.920
(mumbling)

00:17:58.999 --> 00:18:00.320
And the Edinburgh stuff
looks so good on the wall.

00:18:00.480 --> 00:18:02.720
A contact sheet,
literally speaking,

00:18:02.880 --> 00:18:05.440
is when you put a
strip of negatives

00:18:05.600 --> 00:18:08.520
in contact with a piece
of photographic paper,

00:18:08.680 --> 00:18:11.040
burn the light through the
negatives onto the paper.

00:18:11.200 --> 00:18:14.360
It's the strict order
of a roll of film.

00:18:14.520 --> 00:18:17.280
I took a much
broader view of what

00:18:17.440 --> 00:18:19.999
a contact sheet should be.

00:18:20.040 --> 00:18:22.560
And that is really a sort
of more or less narrative

00:18:22.720 --> 00:18:24.999
sequence of photographs
around the particular event,

00:18:25.040 --> 00:18:28.880
which was the protester

00:18:28.999 --> 00:18:33.000
jumping in front of the tanks.

00:18:33.160 --> 00:18:35.360
So the whole contact sheet
traces the journey of the tanks

00:18:35.520 --> 00:18:39.800
down from the square.

00:18:39.960 --> 00:18:41.080
You can see the square.

00:18:41.240 --> 00:18:42.400
You can see the
line of protesters.

00:18:42.560 --> 00:18:45.120
And then you can see the
events, as we know, at the end.

00:18:45.280 --> 00:18:48.800
Television killed
photojournalism

00:18:48.960 --> 00:18:51.240
in the print journalism
sense of the word.

00:18:51.400 --> 00:18:54.520
Virtually, I mean it's
still on life-support,

00:18:54.680 --> 00:18:58.999
but it's basically sort
of dead, in my view.

00:18:59.000 --> 00:19:03.080
So I suppose what
television killed

00:19:03.240 --> 00:19:05.640
to some degree was
the photo essay,

00:19:05.800 --> 00:19:07.999
the long run of photographs.

00:19:08.080 --> 00:19:10.999
And what we're
talking just now about

00:19:11.120 --> 00:19:14.640
is the single
photograph of a man

00:19:14.800 --> 00:19:17.320
defying the row of tanks.

00:19:17.480 --> 00:19:18.999
I've said in many
interviews before

00:19:19.000 --> 00:19:22.720
that it was television
that made that photograph,

00:19:22.880 --> 00:19:25.880
if it is iconic, iconic.

00:19:25.999 --> 00:19:27.720
It was television that
sort of got people

00:19:27.880 --> 00:19:30.600
engaged with that sort
of ballad, if you like,

00:19:30.760 --> 00:19:33.960
in front of the tanks.

00:19:33.999 --> 00:19:35.999
(downtempo electronic music)

00:19:46.520 --> 00:19:47.080
It became symbolic.

00:19:51.680 --> 00:19:53.440
The still photograph,
the photograph I took

00:19:53.600 --> 00:19:55.720
and two or three
other people took,

00:19:55.880 --> 00:19:57.440
became almost a
sort of a souvenier

00:19:57.920 --> 00:20:00.560
from the television footage.

00:20:02.999 --> 00:20:04.040
It became a symbolic thing

00:20:04.200 --> 00:20:06.999
'cause I think what we
always have tried to do,

00:20:07.120 --> 00:20:10.280
anybody that's
photographed in the news,

00:20:10.440 --> 00:20:12.480
new is very complicated,

00:20:12.640 --> 00:20:14.960
is to sort of crystallize
in one photograph

00:20:14.999 --> 00:20:18.975
something essential about the
event or the day and so on.

00:20:18.999 --> 00:20:23.160
And I think what really drove
it to become, if you like,

00:20:23.320 --> 00:20:26.320
a famous photograph was
the initial coverage

00:20:26.480 --> 00:20:30.280
it got on television.

00:20:30.440 --> 00:20:32.320
BBC were in the building.

00:20:32.480 --> 00:20:33.560
I think CNN were
in the building.

00:20:33.720 --> 00:20:35.960
I can't remember which
crews were there, French TV.

00:20:35.999 --> 00:20:39.320
And then I remember
Magnum ringing me

00:20:40.600 --> 00:20:42.240
and saying, did you
get this or that?

00:20:42.400 --> 00:20:44.280
And yes, I got that photograph.

00:20:44.440 --> 00:20:46.120
(downtempo electronic music)

00:21:10.640 --> 00:21:11.640
- [Voiceover] As
was the case during

00:21:15.800 --> 00:21:16.999
the Tiananment Square
uprisings, the human factor

00:21:17.040 --> 00:21:19.760
will be at the
center of every one

00:21:19.920 --> 00:21:21.160
of Stuart Franklin's
photo reports.

00:21:21.320 --> 00:21:24.040
In tragedies, like
that documented

00:21:24.200 --> 00:21:25.999
a few years earlier
at the Heysel Stadium

00:21:26.080 --> 00:21:28.720
during the European Cup Final

00:21:28.880 --> 00:21:30.040
between Juventus and Liverpool.

00:21:30.200 --> 00:21:31.999
(sad string music)

00:21:32.560 --> 00:21:36.999
Or like the simple telling
of paradoxical stories

00:21:37.720 --> 00:21:40.320
often reported as curiosity
items in magazines,

00:21:40.480 --> 00:21:43.640
but which take on
a different light

00:21:43.800 --> 00:21:45.360
and particular
appeal in his photos.

00:21:45.520 --> 00:21:47.920
- I'm interested
as a photographer

00:21:47.999 --> 00:21:49.880
in capturing the relationship
between man and nature.

00:21:50.999 --> 00:21:54.880
Man is part of an
evolving, changing species.

00:21:56.080 --> 00:22:00.999
Homo sapiens changing
all the time.

00:22:01.040 --> 00:22:03.560
Probably, I see
mankind as becoming

00:22:03.720 --> 00:22:06.240
more and more powerful
in determining

00:22:06.400 --> 00:22:10.720
the future of the planet

00:22:10.880 --> 00:22:12.680
in perhaps a way that
didn't exist 500 years ago.

00:22:12.840 --> 00:22:15.999
So I suppose it is
within our power

00:22:16.120 --> 00:22:20.160
how the planet will continue

00:22:20.320 --> 00:22:22.999
to sustain itself.

00:22:23.000 --> 00:22:24.999
The Time of Trees was the
first book I published.

00:22:25.120 --> 00:22:28.280
And it started in Malaysia.

00:22:28.440 --> 00:22:32.560
And I went to Sarawak,

00:22:32.720 --> 00:22:36.120
half of Borneo, if you like.

00:22:36.280 --> 00:22:38.120
And I was just
completely shocked

00:22:38.280 --> 00:22:39.720
by the extent of
rainforest destruction.

00:22:39.880 --> 00:22:43.999
I took light planes
up into the sky

00:22:44.000 --> 00:22:46.560
and I could see that where even

00:22:46.720 --> 00:22:48.520
the Malays were saying
there was forest,

00:22:48.680 --> 00:22:50.999
there was none.

00:22:51.000 --> 00:22:52.360
It had been felled and
you could hear and see it

00:22:52.520 --> 00:22:54.999
all around you.

00:22:55.120 --> 00:22:56.999
And at the back end of that,

00:22:57.040 --> 00:22:58.760
people were suffering
from flooding,

00:22:58.920 --> 00:23:01.999
from all kinds of
problems caused by

00:23:02.040 --> 00:23:04.000
the rainforest destruction.

00:23:04.160 --> 00:23:06.080
So I wanted to
continue to look at

00:23:06.240 --> 00:23:10.840
what man and nature.

00:23:10.999 --> 00:23:13.840
(bird calling)

00:23:13.999 --> 00:23:17.040
(sinister electronic music)

00:23:30.680 --> 00:23:31.760
I'd been fortunate
in that during my

00:23:35.840 --> 00:23:39.320
15 or 20 years of working
with National Geographic,

00:23:39.480 --> 00:23:41.999
had done a number
of urban stories,

00:23:42.080 --> 00:23:45.240
some on mega-cities,
some on smaller cities

00:23:45.400 --> 00:23:47.600
and so on and so forth,

00:23:47.760 --> 00:23:48.999
that I was able to piece
together this jigsaw

00:23:49.040 --> 00:23:53.520
or at least answer in
certain ways this question.

00:23:53.680 --> 00:23:58.240
And I think my conclusion
was that cities

00:23:58.560 --> 00:24:02.600
are positive things and for us,

00:24:03.720 --> 00:24:06.999
for humans, they are
sites of opportunity

00:24:07.000 --> 00:24:10.480
and also for invention

00:24:10.640 --> 00:24:13.800
and for innovation.

00:24:13.960 --> 00:24:15.960
A lot of the things that
we create and innovate

00:24:15.999 --> 00:24:18.440
are made in cities.

00:24:18.600 --> 00:24:22.520
So I've always held that view

00:24:22.680 --> 00:24:23.999
that people are always trying
to better their circumstance.

00:24:24.120 --> 00:24:26.999
(quiet piano music)

00:24:37.520 --> 00:24:37.999
(piano music)