There is a photographer in every bush, going about like a roaring lion seeking whom he may devour.
I took a workshop from him a few months after that. That experience changed my whole approach to photography. At that workshop in Yosemite in 1973 I decided I wanted to try and see if I could pursue this for myself, and I'm still trying.
In 1979, I received a phone call from Ansel Adams asking me if I would be willing to consider coming to work for him. I was teaching photography in Southern California at that point.
You become things, you become an atmosphere, and if you become it, which means you incorporate it within you, you can also give it back. You can put this feeling into a picture. A painter can do it. And a musician can do it and I think a photographer can do that too and that I would call the dreaming with open eyes.
The only times we are consciously aware of the authorship of a photograph, I would argue, are when we contemplate the photographs we ourselves have taken (or those of friends and family) or when we go deliberately to the photographers monograph or exhibition. The signed image - the appropriated, the owned image - is by far the rarest in this pullulating world of pictures.
Everybody can take a good picture. Everybody is interesting. Everyone has an interesting face. Some people are more difficult or more nervous or more tired. When you do a movie, you have action, you're talking, you're moving. You don't see the camera. Taking a picture with a photographer, you don't talk, it's more difficult than in a movie for your body to relax, to be yourself.
I've never seen a surface that I think is more seductive in image making.
I really don't have any secrets. I've never met a photographer whose work I respected that had a secret because the secret lies within each and every one of us.
So when I became interested in photography and further being inspired by the work that I saw of Ansel and others, it was a natural extension to go back to these places that I knew as a kid and explore them with my camera.
Being a digital photographer I'm in awe of the older generation of photographers who created all those iconic cinematic style images on film, such as Man Ray's portrait of the photographer Lee Miller.
Many photographers are consumed with the idea of making beautiful contact sheets. I am far more interested in making the best final print I can.
When the object that is produced...the photographic image...has the ability to make tears come to your eyes; to inspire you to the point where you have to catch your breath, then nothing else matters.
We don't have only two eyes; we have hundreds of wonderful eyes, because there are hundreds of wonderful photographers!
Whatever it takes to get the image to reach that level is what that photographer needs to do.
When I teach and meet a class for the first time, you realize that there are people there that have exceptional abilities or have the potential to do exceptional things and you never know who those people are. My job is to provide the best information I can.
There are almost too many possibilities. Photography is in direct proportion with our time: multiple, faster, instant. Because it is so easy, it will be more difficult.
Whatever it takes to get the image to reach that level is what that photographer needs to do. And for me, I just have such a love of the tactile and sensuous quality of a black and white silver gelatin print.
The best pictures differentiate themselves by nuances...a tiny relationship - either a harmony or a disharmony - that creates a picture.
I prefer to be noticed some day, first for my ideas and second for my good eye.
I was always into the music. Music, in general, saved my life. But the fame part... I would look up, see what was going on around me, the reporters and photographers and all, and then I would just go back to making my music.
Today my passion is still black and white. Today if I have an array of cameras in front of me the one I would reach for that I would feel most comfortable with would be a 4 X 5 View camera. I was once working in a sort of soft light situation.
There is a considerable amount of manipulation in the printmaking from the straight photograph to the finished print. If I do my job correctly that shouldn't be visible at all, it should be transparent.
People who are close to me know, they so know that there were days when I was so tired that I would fall asleep anywhere. The onset photographer has pictures of me falling asleep everywhere. Like on chairs, on the floor, in the middle of a set, all curled up. There were times when crew members didn't know where to find me, but they knew I'd be curled up in a ball somewhere.
I think just about everything has been tackled, but it may be that things will be done again, only better and differently.
A true photographer is as rare as a true poet or a true painter.
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