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but arranging it was very difficult. We went to a political rally in Cape Town where he was speaking, and the crowd started pushing back and forth. It got pretty crazy, and Mandela's security people told us we had to go. Just before we did, I was able to take about three frames of Iman introducing herself to President Mandela. Thankfully, two came out. A couple days later, we were able to visit Mandela again at his home in Johannesburg. The experience was everything we had hoped it would be and more. He greeted us all with an open heart, without an ounce of anger in his eyes. He picked up on the fact that a young woman who was with us — the writer for the Vogue story — had grown up in South Africa, and tried to set her up on a date with one of his security people. It was an unforgettable experience, a memory I'll always treasure. As a photographer, to have that kind of human contact with someone you admire and read about in history books, is incredibly humbling. The art of film vs. digital. I still use film instead of a digital format because I love the intimacy of the experience it creates. When you're working in a digital setting, especially in a studio, you see the results right away — and often so does everyone else on set. There's less of a feeling of surprise or lucky accident. There's no Christmas- present feeling you get when the contact sheets arrive from the lab. BRUCE WEBER ON VIEW This month, Dallas Contemporary reveals a lesser-seen side of Bruce Weber, with the debut of its megawatt exhibition "Far From Home," opening September 18 (through March 12, 2017). With more than 250 photographs shot by the artist during his travels, many of which have never been exhibited, the show is a glimpse into Weber's world by way of images and short films. Dallas Contemporary, 161 Glass St., 214.821.2522, dallascontemporary.org. For more stories from Bruce Weber, go to papercitymag.com. © BRUCE WEBER © BRUCE WEBER Mariacarla Boscono, Punta Cana, Dominican Republic, 2002 Mark Miller and Lara Stone, Hampstead Heath, London, 2014