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

 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. 
 Pictures should look like they were easily taken. 
 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) 
 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) 
 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. 
 Landscape photography can offer us, I think, three verities—geography, autobiography, and metaphor. 
 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. 
 The final strength in really great photographs is that they suggest more than just what they show literally. 
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