Quote

Many have asked, pointing incredulously toward a sweep of tract homes and billboards, why picture that? The question sounds simple, but it implies a difficult issue - why open our eyes anywhere but in undamaged places like national parks?

Robert Adams

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Robert Adams
Age: 87
Born: 1937
Born: May 8
Photographer
Orange
New Jersey
Robert Hickman Adams
Robert ii Adams
Sound
Toward
Homes
Difficult
Asked
Parks
Undamaged
Home
Question
Anywhere
Incredulously
Many
Issues
Sounds
Tract
Like
Open
Issue
Billboards
Eyes
Picture
Sweep
Simple
National
Implies
Eye
Places
Pointing

More quotes by Robert Adams

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Let go of the thoughts, let go of the mind, let go of everything. Let go! Drop it! Drop everything. Hold onto nothing.
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The history of art is filled with people who did not live long enough to enjoy a sympathetic public, and their misery argues that criticism should try to speed justice.
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There's something within you that knows what to do. There is a power greater than you that knows how to take care of you without your help. All you've got to do is to surrender to it. Surrender your thoughts, your mind, your ego, to the current that knows the way. It will take care of you. It will take better care of you than you can ever imagine.
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Invention in photography is so laborious as to be in most instances perverse.
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There is only one decision you need to make: You are either working at your Freedom or you are accepting your bondage.
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Television probably has become the most evocative, widely observed signpost we have.
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All land, no matter what has happened to it, has over it a grace, an absolutely persistent beauty.
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. . .art is a discovery of harmony, a vision of disparities reconciled, or shape beneath confusion.
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I would welcome the passing of the idea of philosophy as defined by a method of conceptual analysis. But that is not the passing of philosophy, and it leaves the philosopher with the task of grasping natures or essences (among other things).
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Timothy O'Sullivan was, it seems to me, the greatest of the photographers because he understood nature first as architecture.
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There is still time - in the lee, in the quiet, in the extraordinary light.
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Your own photography is never enough. Every photographer who has lasted has depended on other peoples pictures too - photographs that may be public or private, serious or funny, but that carry with them a reminder of community.
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I've been so lonely trying to become a photographer. If I'd known that before, I don't know if I had the courage to do it again. You get to a point where you feel that you have something that is your own. And if you don't find an audience for it, you are going to burst.
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Of all the sacred places on the coast, none is more comforting than where rivers join the sea. By the river's disappearance we are reminded of life's passing, while by the ocean's beauty we accept it, in a hope we cannot explain.
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A lake that is noisy cannot reflect anything
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I keep calling it the I-thought. It's a thought. There is no I. This gives you a clue.
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You are before being and not being, awake and dream take place in time. You have no time.
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I have asked students at the beginning of their careers, what things of that sort might haunt them – what things they must photograph, things they have to try to shoot even before they master the intricacies of making dye transfer prints.
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I began making pictures because I wanted to record what supports hope: the untranslatable mystery and beauty of the world. Along the way, however, the camera also caught evidence against hope, and I eventually concluded that this, too, belonged in pictures if they were to be truthful and thus useful.
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The job of the photographer, in my view, is not to catalogue indisputable fact but to try to be coherent about intuition and hope. This is not to say that he is unconcerned with the truth.
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