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My best work is often almost unconscious and occurs ahead of my ability to understand it.
It matters little how much equipment we use; it matters much that we be masters of all we do use.
Photography, alone of the arts, seems perfected to serve the desire humans have for a moment - this very moment - to stay.
I'm interested in smokers standing on ledges, and big box stores, the rise of the suburbs, and the hollowing out of small towns. Self-storage. Things that didn't exist 50 years ago. Our common culture. What we have agreed is OK to live with.
Essentially what photography is is life lit up.
We know that photographs inform people. We also know that photographs move people. The photograph that does both is the one we want to see and make.
"You know you are seeing such a photograph if you say to yourself, "I could have taken that picture. I've seen such a scene before, but never like that." It is the kind of photography that relies for its strengths not on special equipment or effects but on the intensity of the photographer's seeing. It is the kind of photography in which the raw materials-light, space, and shape-are arranged in a meaningful and even universal way that gives grace to ordinary objects."
This might seem off the track, but an interesting thing to me that others could talk about better than I, but one of the growth areas in photographic education has been the so-called slow photography.
But there is more to a fine photograph than information. We are also seeking to present an image that arouses the curiosity of the viewer or that, best of all, provokes the viewer to think-to ask a question or simply to gaze in thoughtful wonder. We know that photographs inform people. We also know that photographs move people. The photograph that does both is the one we want to see and make. It is the kind of picture that makes you want to pick up your own camera again and go to work.
Life rarely presents fully finished photographs. An image evolves, often from a single strand of visual interest - a distant horizon, a moment of light, a held expression.
Photographs that transcend but do not deny their literal situation appeal to me.
What I'm interested in is modern American history. I'm taken with the changes that have occurred in America in my lifetime.
How the visual world appears is important to me. I'm always aware of the light. I'm always aware of what I would call the 'deep composition.' Photography in the field is a process of creation, of thought and technique. But ultimately, it's an act of imaginatively seeing from within yourself.
A mad, keen photographer needs to get out into the world and work and make mistakes.
One of the things that I most believe in is the compose and wait philosophy of photography. It’s a very satisfying, almost spiritual way to photograph. Life isn't’ knocking you around, life isn't controlling you. You have picked your place, you’ve picked your scene, you’ve picked your light, you’ve done all the decision making and you are waiting for the moment to come to you.
That's who comes to my workshops. I jokingly tell my students that the class could be called "Your photographs: Better."
My first priority when taking pictures is to achieve clarity. A good documentary photograph transmits the information of the situation with the utmost fidelity; achieving it means understanding the nuances of lighting and composition, and also remembering to keep the lenses clean and the cameras steady.
People say to me, "Who's your favorite kind of photographer?" Or "Who would be your favorite photographer to have in a workshop?"
And I always say, "My Dad."
Above all, it's hard learning to live with vivid mental images of scenes I cared for and failed to photograph. It is the edgy existence within me of these unmade images that is the only assurance that the best photographs are yet to be made.
I had a book come out several years ago, when there were no blogs. This is a mark to me about how the environment has changed.