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. 
 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 suburban West is, from a moral perspective, depressing evidence that we have misused our freedom. There is, however, another aspect to the landscape, an unexpected glory. Over the cheap tracts and littered arroyos one sometimes sees a light as clean as that recorded by O'Sullivan. Since it owes nothing to our care, it is an assurance; beauty is final. 
 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. 
 Landscape photography can offer us, I think, three verities—geography, autobiography, and metaphor. 
 Invention in photography is so laborious as to be in most instances perverse. 
 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. 
 The job of the photographer, in my view, is not to catalogue indisputable fact but to try to be coherent about intuition and hope. 
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