When I read something, I picture that scene in that detail. That becomes very similar to composing a photo in real life.
From Sally Mann
When I read, I take notes and underline things. So reading is a vigorous process for me, but I read in bed. My poor husband is trying to go to sleep, and I'm reaching over him to get the Post-it notes.
I never read about photography.
The two sensibilities, the visual and the verbal, have always been linked for me - in fact, while reading a particularly evocative passage, I will imagine what the photograph I'd take of that scene would look like, even with burning and dodging notes. Maybe everyone does this.
Eventually, my highbrow parents, who so hated the Eisenhower suburban culture of the 1950s that the only magazines they subscribed to were 'The Atlantic' and 'The New Yorker,' broke down and got 'Life' magazine.
I'm the weird person who completely loved and devoured 'Middlemarch' but who has not finished far shorter and more readable books due to distraction or the fact that by some miracle I am sleeping through the night.
To be able to take my pictures, I have to look, all the time, at the people and places I care about.
I have no animus toward digital, though I still pretty much take everything on a silver-based negative, either a wet plate or just regular silver 8x10. But I've started messing a little bit with scanning the negative and then reworking it just slightly.
Increasingly, the work I'm doing is in service to an idea rather than just to see what something looks like photographed. I'm trying to explore how I feel about something through photography.
Time, memory, loss and love are my main artistic concerns, but time, among all of them, becomes the determinant.
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