Harry Callahan
[Photographer, b. 1912, Detroit, Michigan, d. 1999, Atlanta, Georgia.]

 If you choose your subject selectively—intuitively—the camera can write poetry. 
 I think what photography can do really well is allow you to make a life’s work… So theoretically—the series is first, then the group is next, and the whole life’s work is the grand finale. (1979) 
 I sort of believe that a picture is like a prayer; you’re offering a prayer to get something, and in a sense it’s like a gift of God because you have practically no control—at least I don’t. 
 I really didn’t have much to teach. I didn’t even believe in it. I felt so strongly that everybody had to find their own way... In terms of art, the only real answer that I know of is to do it. If you don’t do it, you don’t know what might happen. 
 The difference between the casual impression and the intensified image is about as great as that separating the average business letter from a poem. 
 To be a photographer, one must photograph. No amount of book learning, no checklist of seminars attended, can substitute for the simple act of making pictures. Experience is the best teacher of all. And for that, there is no guarantee that one will become an artist. Only the journey matters. 
 I photograph continuously, often without a good idea or strong feelings. During this time the photos are nearly all poor but I believe they develop my seeing and help later on in other photos. 
 I sort of believe [previsualization] is untrue. I mean, are [Ansel Adams and the others] previsualizing a masterpiece, or a perfect print, or what? If I knew every picture I made was going to be a real picture, maybe I could go along with that, but I can’t. 
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