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"And the camera position, the organization, looking for repeating forms, shapes, trying to set up a visual rhythm seemed to come very natural. All of a sudden I was in a forest of aluminum and steel rather than a forest that we might think of in a traditional sense."
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"One of the signs of passing youth is the birth of a sense of fellowship with other human beings as we take our place among them."

"I who am blind can give one hint to those who see: Use your eyes as if tomorrow you would be stricken blind. And the same method can be applied to the other senses. Hear the music of voices, the song of a bird, the mighty strains of an orchestra, as if you would be stricken deaf tomorrow. Touch each object as if tomorrow your tactile sense would fail. Smell the perfume of flowers, taste with relish each morsel, as if tomorrow you could never smell and taste again. make the most of every sense; glory in the beauty which the world in all the facets of pleasure reveals to you through the several means of contact which Nature provides. But of all the senses, I am sure that sight is the most delightful."

"The programme has ended, something has finished, and he has a sense of something having finished its course, and then all of a sudden he turns away and this other thing has just finished its course, this other person."

"I enjoyed doing the gag covers better than the story ones because they were usually simpler. A cover based on an incident in the plot took a great deal of staging to tell a little story that was still part of the book. And it had to make sense on its own."

"Hemingway was a prisoner of his style. No one can talk like the characters in Hemingway except the characters in Hemingway. His style in the wildest sense finally killed him."

"I think I had an advantage in the sense that I wasn't raised religiously."
Explore more quotes by John Sexton

"It had rained on some vivid green ferns in Maine and it was quite beautiful. I was moving the camera slightly and studying the ground glass. Looking at those 20 square inches, trying to find out just what were the right elements to include."

"So when I became interested in photography and further being inspired by the work that I saw of Ansel and others, it was a natural extension to go back to these places that I knew as a kid and explore them with my camera."

"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."

"It was an experience that was exceptional. People frequently ask what it was like and it truly was inspiring. Sometimes during his lifetime, people would try and put him on a pedestal and that's not where he wanted to be, but he was really a great individual."

"I took a workshop from him a few months after that. That experience changed my whole approach to photography. At that workshop in Yosemite in 1973 I decided I wanted to try and see if I could pursue this for myself, and I'm still trying."

"I remember being shocked when I came out from under the focusing cloth after a minute or two being submerged within that, at the startling green color of those ferns."

"There is a considerable amount of manipulation in the printmaking from the straight photograph to the finished print. If I do my job correctly that shouldn't be visible at all, it should be transparent."

"And as part of my activity there, he had indicated he wanted me to work with him on that and conduct the various technical tests. And so a few months later I moved from Southern California up to the Monterey Peninsula where I still live today."

"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."
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