Gregory Crewdson
[Photographer, b. 1962, Brooklyn, New York, lives in New Haven Connecticut.]

 ... I’m interested in using the iconography of nature and the American landscape as surrogates or metaphors for psychological anxiety, fear or desire. 

Walker Evans
[Photographer, b. 1903, St. Louis, Missouri, d. 1975, New Haven, Connecticut.]

 ...nature photographs downright bore me for some reason or other. I think: “Oh, yes. Look at that sand dune. What of it?” 

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

 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) 

Lewis Baltz
[Photographer, b. 1945, Newport Beach, California, d. 2014, Paris.]

 I was living in Monterey, a place where the classic photographers—the Westons, Wynn Bullock and Ansel Adams—came for a privileged view of nature. But my daily life very rarely took me to Point Lobos or Yosemite; it took me to shopping centers, and gas stations and all the other unhealthy growth that flourished beside the highway. It was a landscape that no one else had much interest in looking at. Other than me. 

Vik Muniz
[Artist, b. 1961, Sao Paulo, Brazil, lives in New York.]

 My first reaction to finding Robert Smithson’s Spiral Jetty in a book was, “Wow, what a great photograph!” I could not believe that someone had gone to so much trouble just to end up with a picture. 

Henri Cartier-Bresson
[Photographer and painter, b. 1908, Chanteloup, France, d. 2004, Paris.]

 The world is going to pieces and people like Adams and Weston are photographing rocks! (1930s) 

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

 Scenic grandeur is today sometimes painful. The beautiful places to which we journey for inspiration surprise us by the melancholy they can induce... Unspoiled places sadden us because they are, in an important sense, no longer true. 
 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? 
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