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

 I have ideas. I always go out with an idea, but it isn’t a very big deal, you know. It isn’t as if I’m going to save the world. Maybe I want to get down low and tilt the front lens, maybe it’s that much. 
 The photographs that excite me are photographs that say something in a new manner; not for the sake of being different, but ones that are different because the individual is different and the individual expresses himself. I realize that we all do express ourselves, but those who express that which is always being done are those whose thinking is almost in every way in accord with everyone else. Expression on this basis has become dull to those who wish to think for themselves. 
 I am interested in revealing the subject in a new way to intensify it. 
 Photography is filled with conflicts and choices. I can be just as serious about one picture as I am about another, but one works and the other doesn’t. Why? Ultimately I choose... that’s the important one... and give up on the other. 
 My value lies in the fact that I am a man for whom the visible world exists. 
 I very rarely start photographing immediately. I like to walk and walk and walk. And the beach was nice because I can walk and unwind and then after a while start photographing. You can go to the sea where it’s beautiful and you are a part of it and I guess you want to let somebody else know about it. I think I must have felt the same way with Eleanor. 
 Everything was Bauhaus this and Bauhaus that. I wanted to break it... I got tired of experimentation. I got sick of the solarization and reticulation and walked-on negatives. What I was interested in was the technique of seeing... I introduced problems like “evidence of man,” and talking to people—making portraits on the street... I thought [the students] should enter into dealings with human beings and leave abstract photography. I felt that social photography would be the next concern. 
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