let me tell you how I shot the cover of
the New York Times Magazine working New
York I came here four years ago as an
immigrant and I guess everybody's in New
York is enemy but the son of another
grandson and I was really cursed by just
putting someone that's here in the city
that just got here this year even the
last month and that's just in the shadow
of the city and that's how we go to Elma
was 20 years old who come from
Azerbaijan he's a waiter walking in
Brooklyn and it just arrived less than a
year ago basically when I met him the
first time I just asked him to walk I
was like let's go outside and let's walk
together and he had this thing when he
walked that was just you know this
regular guy that I just saw maybe two
times I might we must have a class you
know cost us a hundred times that I've
done
Dody seen on how to him like all the
stories unknown stories in the city and
I photographed him with you know
different movement but he always had
that same walk and at some point I was
like okay thank you I think that's
enough and then we started printing and
cleaning in today we have friends from
apollo gemini studio started cutting all
those papers and not connecting is part
a this is Barbie go ahead then we'll
have to attack a huge person
[Music]
when you see that Marco doesn't match
you can tell but everyone's gonna be
response
one pocket even if it's a to pad and you
feel like that something that's not
connecting we keep an eye for everybody
with you and then we started organizing
the pacing which the beginning is really
important because that's the moment
where you're gonna lie
and so we started by the right foot and
that we were all very focused because it
if you miss that first beginning that
the whole pacing could choose from
sideways into the street because there's
no way you correct all your hundreds of
strips after and then when that was on
we started making teams and people
working on the right people working the
left and then working on the body and
someone for the gluon someone
both to take a photo glue slip twice
faster
rolling in connecting
[Applause]
so it's a team war and what I love about
it is in every pacing that I've been
doing is that it connects people you
give a reason for everybody to be here
and and to share something by sunrise we
put the last trip to cut the rope the
same came and people start walking
beautiful day sir nor over people eating
ice cream outside the heart of New York
in the one so and people would walk on
him but never notice him because
everyone's so focused with what's coming
on around with the Flatiron being one of
the most iconic building in the world no
one noticed him it was just there slowly
fading away in the city and then later
in the day when the shadows were perfect
I took my moped I always loved writing
this moped here it's a French moped from
the 70s I guess what I took from French
with me with my spice ball and I ride to
the Aleppo and I just got strapped on
outside baby from their village yeah
I started seeing the face of beauty
he's like a bully another
that was literally because my disability
and had to be perfectly vertical so I
could grab it
and when I was perfect above you know
with the wind we had to redo it
then I keep shooting
I guess for me the most important point
in this piece is really that all those
immigrants that came here like I came
here find the shadows of the city and
that day people were walking on it not
even the stitching it but today on the
cover of the New York time everybody's
in the shadow except Emma who's in the
life it's just another story but like
anybody I could tap on the shoulder and
ask them where they're from and I don't
always have the courage to do that but
each time I do it you know I feel like
closer to the world
[Music]
you