Robert Adams
[Photographer and writer, b. 1937, Orange, New Jersey, lives in Astoria, Oregon.]

 The job of the photographer, in my view, is not to catalogue indisputable fact but to try to be coherent about intuition and hope. 
 The operating principle that seems to work best is to go to the landscape that frightens you the most and take pictures until you’re not scared anymore. (1982) 
 For a shot to be good—suggestive of more than just what it is—it has to come perilously near to being bad, just a view of stuff. (1970) 
 Pictures should look like they were easily taken. 
 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? 
 The suburban West is, from a moral perspective, depressing evidence that we have misused our freedom. There is, however, another aspect to the landscape, an unexpected glory. Over the cheap tracts and littered arroyos one sometimes sees a light as clean as that recorded by O'Sullivan. Since it owes nothing to our care, it is an assurance; beauty is final. 
 What a landscape photographer traditionally tries to do is show what is past, present, and future at once. You want ghosts and the daily news and prophecy... It’s presumptuous and ridiculous. You fail all the time. 
 No place is boring, if you’ve had a good night’s sleep and have a pocket full of unexposed film. 
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