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

 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. 
 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. 
 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. 
 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) 
 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) 
 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. 
 With a camera, one has to love individual cases. 
 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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