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

 Lewis Hine said he hoped to show what was wrong so that we would try to change it, and what was right so we could take comfort in it. I don’t often achieve that, but the two goals seem appropriate to me. 
 Almost all photographers have incurred large expenses in the pursuit of tiny audiences, finding that the wonder they’d hoped to share is something few want to receive. 
 Many photographers in fact remind me in temperament of Thomas Hart Benton; in addition to painting, he said, what he liked was to “drink whiskey and talk big.” 
 No place is boring, if you’ve had a good night’s sleep and have a pocket full of unexposed film. 
 …talking about pictures as though you could tell anybody how to take good ones is nuts. Pictures are given, not taken. 
 By Interstate 70: a dog skeleton, a vacuum cleaner, TV dinners, a doll, a pie, rolls of carpet... Later, next to the South Platte River: algae, broken concrete, jet contrails, the smell of crude oil... What I hope to document, though not at the expense of surface detail, is the form that underlies this apparent chaos. 
 Nature photography… that acknowledges what is wrong, is admittedly sometimes hard to bear—it has to encompass our mistakes. Yet in the long run, it is important; in order to endure our age of apocalypse, we have to be reconciled not only to avalanche and hurricane, but to ourselves. 
 Landscape photography can offer us, I think, three verities—geography, autobiography, and metaphor. 
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