Category Archives: interview with…

INTERVIEW WITH… STEFANO CORSO

Researched by Roberta Pastore

STEFANO CORSO

Professional photographer. He’s born in Rome in 1968 and he lives between Berlin and Rome. Founder in 2010 of the Scuola di Fotografia 42mm Arti Fotografiche(School of Photography 42mm Photographic Arts).

He’s been invited speaker for different italian shows, as street photographer: Photoshow (Milan and Rome), Fotografica 2012 (Milan) and at the “Festival della Fotografia di Pesaro” in 2013.

His photo Red Rain is on a worldwide distribution as artistic poster by the Image Conscious (http://www.imageconscious.com/) – California (US)

He’s the curator of the blog “Fermo Immagine” on the italian news television (RAI) website (http://fermoimmagine.blog.rainews.it)

His website: http://www.stefanocorso.com

Give Up

black stones

Edges

Going back in time how was your passion for photography born and how did you start in the professional world of photography?

I think I have always had a camera in my hand, the first film cameras I had I am still using them nowadays after many years and I am still actively collecting them. I have always aimed my approach to photography to capture moments that surprise me, the technique took a secondary importance and it got better over time on its own. I have always considered technique important only, as I think it should, if it is at the service of the result. I did arrive to professional photography in unaware way, I started receiving assignments from people that had seen my pictures over the internet, so much that I started considering the hypothesis of leaving my old job to take on photography full time.

Considering your works, which ones marked your entrance in the world of real photography?

I would not describe them as “jobs” as personal way to look at reality. I was born as a Street Photographer and the street has always been my photographic gym. Of this genre of photography, I always liked the possibility to alter the perception of reality, extracting from it, unique sensations and emotions, showing stories that appear to be different and surreal, without building something new but simply giving  a new reading interpreting by simply changing the point of view. Two people that do not know each other or two anonymous objects, put together can tell a story that does not exist in reality. With this type of photo, I was first published on magazines and books. I still can remember the emotion for the first photo purchased in Germany to be a cover of a book.

¿Qué hora es Yolanda?

A Suitcase Full of Hopes

A walk with Hopper

How do you manage colour and B&W?

I do not prefer B&W to colour, I have found out that each single photo has the final treatment already inside since the shooting phase: I have discovered that I am using B&W for the photos that I consider “without time” and the colour for the more “contemporary” ones.

Which kind of camera do you use?

Several, my working camera is a Canon 5D Mark III. However, since I am collecting cameras of different ages, I do use for fun the film cameras, in the 35 mm as well as the medium format; the latest purchase is an old wood camera from the early 900, without shutter, for which I had a friend build a new holder to use the 4×5 films on sale today. I develop and print the film personally. Obviously, with this camera I do not do any street photography. I must add that, strangely, I love to take photos with Instagram, especially when I am travelling.

Still Life with a Pigeon

snow surround

What determines if a photo is “good one” or not?

I think that a photo “accomplish” something if it has its own content and if such content is understood and seen by the photographer and then the rest of the world can share and understand it . I have discovered that my attention is drawn by photos that hint to a story, to something that started before the photo was shot or that will continue after it, such photos will hasten memories, feelings and emotions. A photo can achieve something when the vision of the photographer manages to be communicated, felt and experienced by the viewer. We have a great power such as photographers; we can stop reality, and while interpreting it therefore change its understanding. We can crop it into a rectangle, excluding parts of it that have a life beyond the event as it unfolds.

Assault the sky

Autumn Paths

Billy

When you are shooting, do you have an image in your mind? Do you build the final photo before shooting it or are your images also a result of a post-production phase?

 When I shoot, I feel something that can be experienced or known, simply because it has already been lived in the past. With photography, I try to take it out and make it visible, first to myself; I think most photographers shoot for themselves and to understand their own original way of perceiving the world. The post-production is just one more step that can be used to interpret this feeling, but as I said before most of the time is already inherent in the idea of the photo.

Hunger

Ich laufe allein

Lullaby

Manhunter

What training did you follow? Who inspired you?

My inspirations have been and still are many, I believe that the contaminations between photographers enrich and stimulate creativity and originality; like many little challenges that you take to constantly improve yourself. In addition to numerous classics of the past, from Doisneau to Erwitt, I owe much to two people. The first is the photographer Peter Turnley, a photojournalist for numerous international publications and when young an assistant for Doisneau, met by chance in New York, which unconsciously started myself with my idea of photography. The other, a friend photographer, Hughes Leglise-Bataille, which unfortunately died a few years ago, by who I was inspired and with who I compared and “played” photographically for years over Internet. His series “A stroll in Paris” continues to be one of the foundations of my way to see photography.

Fragments of Water

Generations

Mala Strana

Red Rain

INTERVIEW WITH… Hiroyuki Nakada

Researched by  Amos Farnitano

Hiroyuki Nakada

My name is Hiroyuki Nakada, Japanese. 
I have lived in Shanghai, China since 1999.
My liking for photographing is to take real figures of “living objects” on streets with my camera.
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When did you start a passion for the photography?

It was 2008 when I began photographing earnestly as one of the ways to express myself.

What was your first camera?
 It was Ricoh GR digitalⅡ. This is a fantastic camera with a 28mm fixed focal length lens.

It is still alive and working well now.

What is photography to you? And what should not be instead?
It is one of the ways to fulfil my desire; not more, not less. 
If you ask me, it’s only the expression of my curiosity. 

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Which masters of photography inspires you?
I was very much impressed by Shigeo Gocho’s photographs collection book “SELF AND OTHERS”. 
His articles were not about street photos, but I was and, still now, am attracted very much by his creative spirituality; his photos never leave my mind. 
The fine sense of distance between the photographer (he) and object persons makes everyone, who sees the photos, has a very strange feeling. 
I cannot give any commonplace explanation. This book is the one which I really want to be always with.
What is the photo that struck you the most of a great photographer of the story?
I learned much from Daido Moriyama for “Technique of making work”. For example, “Shinjuku” photographs collection. 
He is a really living photograph philosophy. 
The greatest thing that I learned from him is “To be always at spots (fields)”; walking around streets by all means and taking as many photos as possible. 
This is the very essence for taking street photos. 
If you ask me, you don’t have to buy an expensive single lens reflex camera, which fact would be soon and well understood by those who will  begin street photographing. A black small palmtop size camera is enough. 
The faster the autofocus speed, the better the result.
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What is your favorite technique?

What I am always technically aiming at is to get nearer to object persons (even as near as 30 cm) and release the shutter. 
This is not a technique; I myself think it is ridiculous.
Every time I take a photo, I want time stops with my will: only one second in exchange of my life.
In conclusion, I think no technique is necessary for street photo. 
The belief that “I catch him in my camera by all means” is everything.
Why do street photography?
Street is “a sea for curiosity” for me. 
Therefore, there would be no space that changes so much other than that. 
It may be a dirty saying, but it is just like ” honey pot”. 
Every day, coming every day and every day, I released my own street of “My inherent desire”. 
This kind of desire continues to accumulate in my heart, so I would become mad if I don’t get it released.
What is your best shot and what does it represent for you?
It is fantastic when I can” copy” the real image of an object as I wish. 
Just when I see an object, my image is created as to what kind of photo I would really like. 

The only thing I have to do is to release the shutter without hand trembling.

What is your relationship with the street and the people who are in your shots?
It’s like a relationship between a photographer and an ”ornament”. I may be saying something wrong, but objects are all Venus de Milo for me, and I am sketching them. Such is our relationships. 

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Hiroyuki.Nakada (8)You take photos into the streets, how react the subjects of your shots? Are nervous, they are complicit or indifferent??

Even when I stand in front of object persons, they are not aware of me. 
Still more, they even do not think they are going to be photographed. 
Sometimes they become aware; then I fade away or run away from the spot. 
I seldom ask them for permission to take their photographs. 
When you take a photograph after getting a permission on street, it is only a commemorative picture. You see?
 
Here is my bird cage:
Thank You Mr. Hiroyuki Nakada

 

INTERVIEW WITH… Roberto Ramirez

Researched by Raffaele Montepaone e Fabrizio Pannone

ROBERTO RAMIREZ

I was born in Guayaquivil (Ecuador) in 1984 but I have been living in Italy for 10 years. I approached photography only a couple of years ago and I was almost immediately fascinated by this art. I’m keen on street photography and reportage photography. The main subject of my pictures is the city of Milan, whose identity usually borders on stereotypes as the capital of fashion and economy. On the contrary its urban pattern has deeply been changing and exploring its streets, a curious passer-by can discover a lively, multiethnic and cultural city. With my pictures taken crossing its neighborhoods, I have tried to capture people of Milan: their gestures, faces, diverse aspects and features, the ways they interact and use the public spaces. Every single situation is useful and important to me to fix ordinary life. I prefer black&white images since the observer can be guided to focus on what I want to express.

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When did you start a passion for the photography?

I seriously approached photography 3 years ago when my little daughter was born. It was a choice made by both curiosity and personal feelings.

What was your first camera?

My first camera was Canon 500d but soon after I bought Fujifilm x100, which has helped me to achieve and get better my personal style.

What is photography to you? And what should not be instead?

Photography is a tool to fix unique moments. Therefore, it should be a matter of freedom, instinct, intuition, sensitiveness and naturalness. The attempt to trap photography and establish strict rules breaks the possibility to catch the fluidity of life with its gestures, emotions and diversity.

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Which masters of photography inspires you?

I get constant inspiration from William Klein’s work as he is able to capture the dynamism of life, using an interesting and original perspective and filling up the frame with the presence of various characters. I also like Leonard Freed due to his attachment to reality and Alex Webb who manages to control an incredible set of elements in one picture.

What is the photo that struck you the most of a great photographer of the story?

I can’t choose only one photo. I admire William Klein’s portfolios about New York City and Rome.

What is your favorite technique?

I prefer to get into the situations, observe and be patient, so I adopt a close point of view.

Why do street photography?

Because my objective is to document everyday life and human nature. As Joel Meyerowit says “street photography was the only form of the medium that owed nothing to painting or the other plastic arts, it is purely photographic.”

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What is your best shot and what does it represent for you?

My best shot is something very personal that I have never showed to anyone. The image is hung on the wall. It regards my daughter.

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What is your relationship with the street and the people who are in your shots?

There’s no direct relationship between me and the street and its inhabitants, as I try to camouflage, to be invisible, to enter reality without corrupting the spontaneity of moments.

INTERVIEW WITH… Felix Lupa

Researched by Roberta Pastore

FELIX LUPA

http://www.felixlupa.com/

When did you start a passion for the photography?

 I was born in 1972 in the Ukraine, then of the Soviet Union. I was acquainted with photography at a very early age, as my father used to develop and print his pictures at home. In 1978 I emigrated together with my parents from the Soviet Union to Israel. The rest of our family stayed on in the Soviet Union. A new,and quite different life began for us.

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Absorption in the new country was rather hard .Warm and sheltered childhood in the fold of loving grand -parents , uncles and aunts gave way to a race for survival. Conditions in the new country obliged my parents to work  at two jobs in order to safeguard their future in their new country. I thus found myself alone at home from morning to evening, and being a curious and inquisitive child of six, I preferred to wander around in the streets, learn the new language, get to know people of all sorts, and, generally, learning to make my own way in life. Soon I got to know the street, its laws, and the people who inhabited it. The schooling I got during those early years rendered me a great service later in life. At the age of 24 with quite a mileage in photography I decided to register in a photography school.  I wanted to sort myself out, to see where I was going with my life, and with photography. By then it was already clear to me that photography was for me neither a hobby , nor a profession , but rather a way of life. In a short course of several months I excelled in composition studies, laboratory work, black and white etc. On graduating I was straight away recruited as an instructor in the same school. After a year in that job I decided to go out to explore the world in the company of my camera For five years I visited and worked in a number of countries.

With the help of my camera(Nikon F3-HP) I managed to gain access into the lives of many people wherever I went. I gained experience in a number of fields of photography, but soon enough I realized that I must focus on the field in which I was best, namely documenting people, their lives and their environment. For several years I worked for various magazines in Israel, as well as in other  countries. Nowadays I devote all my free time to “street photography” ,and to its advancement in Israel.

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What was your first camera?

When, as a child, I started photographing, it was with a rangefinder camera. Later on I experienced with all kinds, makes, and formats that came about and were available. But out of this prolonged and varied experimentation I came to realize that, for me the rangefinder camera was (and still is) the best system to work with: you work with the least of technological intervention in the creative process, and with the least conspicuous camera. It is true that there is no such thing as the “perfect camera”, and that you have to learn to live with limitations and to make the best out of your machine. But with all this in mind I am convinced that, for me, the best option is a small, quiet, precise and dependable camera with a great choice of first class glass, which would serve me faithfully for many years. My preference to stick with film has probably to do with the time I started getting interested in photography and with my early experience with analogical photography and dark room work. The present so called “digital age” is impatient with those who prefer to work slowly and deliberately, and is calibrated to cater to immediate satisfactions. To my mind, this is rather unfortunate. It overpowers our commonsense and blurs our senses which are so important for photography in the intoxicating environment of the street.

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What is photography to you? And what should not be instead?

Photography for me is much more than the means to record impressions from my personal life ,or the life of the society in which I live.For me photography serves as a central, mental, balancing point in the midst of all other things that demand my attention in daily life. It is a haven, an island of sanity in which I am always glad to take refuge from an insane world.

The very moment I take up my camera I feel commitment, and a sense of responsibility. Holding my camera I feel that I am required to be more attentive, more sensitive, more determined. It is as if the camera in my hands obliges me to think, imagine, improvise, be more creative, as if, for a brief magical moment, it brings out in me all those good qualities which make up the best character of man. Photography has always had, ever since my childhood, a kind of mystical power over me. For me the camera was that sparkling, eye-catching device, which imbues those who hold it with supernatural powers, the power to catch a magical moment with a little push of a button, show everybody that one can stop the flow of time, look again and again at a chosen situation, recreating and re-experiencing the emotions of a unique moment.

Even today, many years and experiences later, this feeling of magic has not faded. I still feel the excitement of photography and thank my luck for being able to experience the marvel of holding a camera, and sharing with others these feelings of wonder and excitement.

 Which masters of photography inspires you? 

There is no photographer whose work has influenced me. I have always taken my inspiration from the street and the people in it, and not from books or other photographers. For this reason I do not have at home even one book of photographs.

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What is your favorite technique?

The way a street photographer thinks and acts is quite like a hunter’s; the more experienced and accomplished he/she is, his distance from his object will tend to get shorter. His chief tool for capturing interesting situations in the street is his ability to surprise and his persistence in the face of failures. For my part, I use to go out in the street with just one camera and one lens, preferably ultra-wide. This obliges me to get as close as possible to the scene. I think this is an excellent method to improve one’s self confidence and courage when one strolls in the “urban jungle”. There is no doubt that having to cope with closeness to strange people may have good effects also in one’s private life. It is inevitable that you will experience some friction with people, but even this is a useful experience; you are obliged to find some creative solutions to this, and, in the course of time, you develop a positive attitude which will make people accept you, and even like your presence among them, which, eventually, translates into good, intimate pictures.

I use two approaches to the process of creation. As they complement each other they result in a state of permanent readiness for any eventuality. One is the way of “defense” the other the way of “initiative”.

“Defense”: when I move in the street sometimes I find myself being “attacked” by surprising , unexpected, situations.  Being alert to this kind of situation I am always ready to meet the challenge, when such opportunities come my way.

In such cases the nature of reaction is defensive. One is wide open to the environment. There is no time for thought. You act instinctively, and all you want is to “absorb” the situation and disappear.

“Initiative”: ” initiated” approach to street photography is like going on a hunting trip. It involves all known methods of the hunter.

Going to the “hunting field” requires mental preparation. One has to clear one’s mind of all irrelevant concerns and bothers. The street tells its stories using its own wavelength. All one needs to do is receive and synchronize with it. All senses are sharpened up, the body is tuned up and alert, the mind is creative, and adrenalin level is high. In this state every action will be thought out, planned, and precisely timed, every situation is examined in depth, and a method of action is initiated- diversion, camouflage, sneaking, shooting and disappearing, all methods  known to every street photographer,” hunters of the streets”.

What is common to both approaches is the habit of holding the camera in hand, switched on, and ready to shoot.  As long as you are in the street, the camera should not be in its protective bag, or hanging on your neck nor on your shoulder. It should be in your hand ready for every eventuality. This is basic, hard incontestable experience. Tested and proven.

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Why do street photography?

I actually began to do street photography before I even knew there was such a genre. Like most photographers, in my time I used to photograph landscape, portraits, macro and even flowers in vases. It was, however, when I started taking photos of people in the street that I knew that this was exactly what I loved and wanted to do. Challenge and satisfaction in photographing people are very great. This kind of photography usually brings out your best, it teaches you a lot about others, but even more about yourself.

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What is your relationship with the street and the people who are in your shots?

As what concerns me most is investigating and recording the life of society, it is essential to reveal and expose the state of things as they are.

This search for truth may be done by an investigation in depth, looking into the smallest details, scratching the upper layers, which does indeed lead to penetrating into the citizen’s life and viewing the depths of his/her soul, so to speak.

The truth may be reached in either of two ways: the longer or the shorter.

The longer way involves the elements I have just mentioned, and requires a great deal of time in order to reach full intimacy with the “subject”, or the person to be photographed.

The shorter way includes all the “hunting techniques” I mentioned earlier- decoy, sneaking, camouflage, shooting and evading, all in order to get as close to the “subject” as possible in his/her moment of truth.

In my work I combine the two methods, in order to reach a truth only I and the person photographed share.

Whatever the method we choose, there is no place for shame or fear in this kind of photography work.

 

INTERVIEW WITH… Vineet Vohra

Written and researched by Roberta Pastore

VINEET VOHRA

Born in Delhi in 1973 , i spent my childhood under the guidance of my father & my father’s elder brother , they are the biggest source of inspiration for me , they both taught me what i possibly couldn’t learn from any school or college . One being a applied artist & the other a noted sculptor so I got the best of both the worlds ,did graduation from prestigious Delhi college of Arts in applied arts & specialization in photography .

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When did you start a passion for the photography?

I started photography at a very early age and at that anything to everything was my subject , from Flora to fauna , humans to animals , I would shoot anything that caught my attention.

What was your first camera?

My first camera was Minolta x-700

What is photography to you? And what should not be instead?

To me photography is a journey & I travel everyday , I am learning & unlearning everyday ,I thrive to improve everyday . Life in General which is so unexpected i try to be as honest through my lens as I can .I try to synthesize between human elements & the environment & my main focus is how to make ordinary moments look extraordinary .I think everyone of us should get involved with photography coz it gives more than one can ever imagine .

DSC_6362Which masters of photography inspires you?

I love to see works of lot of photographers (famous & not so famous) over & over again but I feel ,I should be out shooting instead of watching these pics , so I have my favorites but only STREETS inspire me & not the photographers .

What is the photo that struck you the most of a great photographer of the story?

I love Bresson’s work a lot , his image -Sunday on the banks of river Marne really fascinates me .

 What is your favorite technique?

One fixed focal length & f11

photo-2 DSCF8372 DSCF1189 DSC_6920Why do street photography?

Generally street photography gets confused with photojournalism , in a way they both are documentary photography but to my own knowledge I feel it must tell a story ,story has to be told even if it’s meaning is hidden, it’s about how people are , it should be SIMPLE .

 What is your best shot and what does it represent for you?

I am still struggling to get a shot that I can fall in love with .

2 1What is your relationship with the street and the people who are in your shots?

to be honest , I feel like a pickpocketer , my relation with them is often very superficial or non existent , I see a subject, take a picture , say thank you & move on, but then while doing a story I spend lot of time in that area , get to know them & make them comfortable of my presence.

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INTERVIEW WITH… Chulsu Kim

Written and researched by Amos Farnitano

Chulsu Kim

Born in Japan, raised in Japan, but Korean.Think habitually, and intended to express themselves from the photograph. I have photographed to take care of intuition and sensitivity. Order to pursue real, I will continue to take the street.

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 When did you start a passion for the photography?                               The passion for the photography is begun when I bought the  iPhone  three years ago.

What was your first camera?                                                                                         My first camera is iPhone

What is photography to you? And what should not be instead?           For me is means to express themselves.

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Which masters of photography inspires you?                                                   All IG friends ( Instagram Comunity)

What is your favorite technique?                                                                          5- Is a freeshot

 Why do street photography?                                                                                    The street photography because you are looking for real at all         times

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What is your best shot and what does it represent for you?                Represent for me sensitivity and very natural posture

What is your relationship with the street and the people who are in your shots?                                                                                                                          The relationship with the street and the people who are in my shots is that they are the sound of each other sensitivity

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interview with… Eduard Frances

EDUARD FRANCES
Written and researched by Fabrizio Pannone, Raffaele Montepaone, Roberta Pastore

Interview with ... Eduard Frances

Born in Xativa (Valencia), Spain. I am a self-taught photographer who started taking photos in 1987. I began learning about analog photography technics and chemistry laboratory. I also learnt making my own chemical formulas and emulsified paper. I have created copies in Fine Art in baryta paper in a limited edition and I have spent a big part of my time working on Ansel Adams zone system. My obsession: To take a photo which has a life of its own in Black and white. Streets are my favorite place where I try to catch with my eyes other people’s life and show it to my audience. I don’t like the manipulation of images and I never use HDR or similar technics. My passion for black and white photography and the streets makes me study the image and its light and shade to cause the greatest visual impact in my pictures.  I love the streets, this is my style and a big part of my work. My photograph  “La Pelu” is a snapshot, taken with a Nikon FM2 and Trix 400 film and printed with D76.

1 – When did you start a passion for the photography?
I started taking photos in 1987.
2 – What was your first camera?
The equipment I used in my beginning in order was the following: Nikkormat, FM2, F301, F90X,ContaxG1 and Leica M6 in 6X6 Hasselblad format. I have used many different lenses but I only usewide-angle lens nowadays.
3 – What is photography to you? And what should not be instead?
For me, photography is feelings and soul. Where one parte is about the technique and other is about soul. Capturing the life and being able to leave a historic document. On the other hand, photographyshouldn’t consist in manupulating photographs like HDR
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4 – Which masters of photography inspires you?
One of my favorite photographers was Ansel Adams and I practiced a lot of landscape photographyusing his zones system. Once I started to feel the street I changed my style immediately as I realizedhow important is to capture this world and its people.
5 – What is the photo that struck you the most of a great photographer of the story?
For me, there isn’t one exclusive photography that I can consider “the best”. There are a lot of good pictures, but the one that I admire is “The miliciano” from Robert Capa took at the Spanish Civil War.

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6 – What is your favorite technique?
The zone system, that I took from Ansel Adams.
7 – Why do street photography?
Because I want to leave my testimony to future generations and that they can see passing the time.
8 – What is your best shot and what does it represent for you?
This is what I consider my best picture. It represents life, simple has that. It’s reality.

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