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My lens of choice was always the 35 mm. It was more environmental. You can't come in closer with the 35 mm.
My hope is that we continue to nurture the places that we love, but that we also look outside our immediate worlds.
Lennon was very helpful. What he taught me seems completely obvious: he expected people to treat each other well.
It's hard to watch something go on and be talking at the same time.
It's a heavy weight, the camera. Now we have modern and lightweight, small plastic cameras, but in the '70s they were heavy metal.
In a portrait, you have room to have a point of view. The image may not be literally what's going on, but it's representative.
If it makes you cry, it goes in the show.
If I didn't have my camera to remind me constantly, I am here to do this, I would eventually have slipped away, I think. I would have forgotten my reason to exist.
I've created a vocabulary of different styles. I draw from many different ways to take a picture. Sometimes I go back to reportage, to journalism.
I'd like to think that the actions we take today will allow others in the future to discover the wonders of landscapes we helped protect but never had the chance to enjoy ourselves.
I wish that all of nature's magnificence, the emotion of the land, the living energy of place could be photographed.
I was scared to do anything in the studio because it felt so claustrophobic. I wanted to be somewhere where things could happen and the subject wasn't just looking back at you.
I still need the camera because it is the only reason anyone is talking to me.
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