There is always a subjective aspect in landscape art, something in the picture that tells us as much about who is behind the camera as about what is in front of it.
Robert AdamsRead
Part of the reason that these attempts at explanation fail, I think, is that photographers, like all artists, choose their medium because it allows them the most fully truthful expression of their vision... as Robert Frost told a person who asked him what one of his poems meant, 'You want me to say it worse?'
Interpretation
Artists express their vision through their chosen medium, and sometimes words fail to capture that essence.
The quote reflects on the challenges of explaining artistic expressions, particularly in photography. Robert Adams suggests that like all artists, photographers select their medium for its capacity to convey their true vision, emphasizing that attempting to articulate that vision in words may dilute its impact, as illustrated by Robert Frost's dismissive response to inquiries about the meaning of his poetry.
In practice
This quote is perfect for a discussion about the nature of art in a gallery opening.
There is always a subjective aspect in landscape art, something in the picture that tells us as much about who is behind the camera as about what is in front of it.
If I like many photographers, and I do, I account for this by noting a quality they share - animation. They may or may not make a living by photography, but they are alive by it.
When photographers get beyond copying the achievements of others, or just repeating their own accidental first successes, they learn that they do not know where in the world they will find pictures. Nobody does. Each photograph that works is a revelation to its supposed creator.
We have names for everything. What if we forgot about those names? And we stopped seeing things as something? What if we just observed things, watched things, without giving them a name, without coming to a conclusion? What do you think would happen? You would transcend everything.
The only things that distinguish the photographer from everybody else are his pictures: they alone are the basis for our special interest in him. If pictures cannot be understood without knowing details of the artist's private life, then that is a reason for faulting them; major art, by definition, can stand independent of its maker.
Why do most great pictures look uncontrived? Why do photographers bother with the deception, especially since it so often requires the hardest work of all? The answer is, I think, that the deception is necessary if the goal of art is to be reached: only pictures that look as if they had been easily made can convincingly suggest that beauty is commonplace.
The film medium is some sort of magic. I think also it's a magic that every frame comes and stands still for a fraction of a second and then it darkens. A half part of the time when you see a picture you sit in complete darkness. Isn't that fascinating? That is magic.
There is a communication of more than our bodies when bread is broken and wine is drunk. And that is my answer when people ask me: Why do you write about hunger, and not wars or love.
Your film is like your children. You might want a child with certain qualities, but you are never going to get the exact specification right. The film has a privilege to live its own life and develop its own character. To suppress this is dangerous. It is an approach that works the other way too: sometimes the footage has amazing qualities that you did not expect.
Filmmaking is exploring. Why would I want to make a film about something I already understand?
In the world of musical theatre, if everyone says it's a good idea, you wonder why nobody has done it before.
I think people inspire me the most. If I meet a person who is incredibly complex, and all of a sudden, I start thinking in rhymes, that person could be a muse.
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