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"When I'm about ready to press the cable release on the View camera, I've tried to anticipate some of the challenges I'm going to encounter in the darkroom."
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"We had so much press, and then they get bored... I think we've done well to keep going."
"I have a much better relationship with the press than I did, I think because I stood my ground."
"Washington is the only city in the world where you can go to a black-tie dinner and there at the foot of the table is a television set up to catch a press conference."
"The press is like a big bass, you just stick a hook in their mouth and they'll take it."
"Bonfire of the Vanities: The lesson of that book is, never start believing your own press."
Explore more quotes by John Sexton
"I've found even after nearly 30 years of doing this, there are all kinds of new surprises that rear their heads at various times and I truly believe that 51% of the images, success takes place in the darkroom."
"One of the workshop participants had shown me a single 8 X 10 photograph of a power plant where he actually was the general manager of this power cooperative. It was quite magical to me."
"So to me it's very similar in terms of trying to distill within the image, those elements that are gonna form, hopefully, a compelling visual statement."
"I really don't have any secrets. I've never met a photographer whose work I respected that had a secret because the secret lies within each and every one of us."
"I remembered seeing it and it was this metallic turbine and I thought it was beautiful. I had never been in a power plant before, but I felt, without being overly dramatic, compelled to make photographs of this for myself."
"It was amazing to watch him in the darkroom at an advanced age, still get excited when the results were pleasing. He still struggled like we all do in the darkroom and he struggled behind the camera, and when he had a success he was beaming."
"The first day at the power plant I found myself photographing some steam vents on the roof of the structure. And I remember consciously thinking that they were just like trees but they were metal."
"Whatever it takes to get the image to reach that level is what that photographer needs to do. And for me, I just have such a love of the tactile and sensuous quality of a black and white silver gelatin print."
"In 1979, I received a phone call from Ansel Adams asking me if I would be willing to consider coming to work for him. I was teaching photography in Southern California at that point."
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