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

 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. 
 I wanted something important, something spiritual in my life. And as these feelings developed, I found that my spiritual enrichment came through art. It was then that I realized that I wanted to be an artist. That’s it. You see, I learn slowly, but every day I seem to learn more. 
 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. 
 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. 
 Photography is an adventure just as life is an adventure. If man wishes to express himself photographically, he must understand, surely to a certain extent, his relationship to life. I am interested in relating the problems that affect me to some set of values that I am trying to discover and establish as being my life. I want to discover and establish them through photography. 
 My value lies in the fact that I am a man for whom the visible world exists. 
 I am interested in revealing the subject in a new way to intensify it. 
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