Sally Mann Quotes
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I don't know what the instinct is, to save every report card, every half-sentence scribbled note, but my mother did it pretty effectively, and I've done it to a fare-thee-well.
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I had written my master's thesis on Ezra Pound on 'The Cantos.' And don't ask me about it. I don't remember anything about it.
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I work all the time. I never leave home. I mean, I just stay honed in on what's ahead.
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The fundamental thing about my personality is that I think I'm an imposter.
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I never read about photography.
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Matte digital prints are gorgeous, don't you agree? But the glossy digital prints, I just can't stand that paper.
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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.
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It's usually so fraught when you're taking a picture. I work with an 8-by-10 view camera and there's a, you know, hood that I put over my head, and it's tricky and complicated.
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I'm just the opposite of a lot of photographers who want everything to be really, really sharp. And they're always, you know, stopping it down to F64.
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It's not a lack of confidence, because I can't argue with the fact that I've taken some good pictures. But it's just a raw fear that you've taken the last one.
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It didn't help my career to be living in Appalachia.
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Though I made my share of mistakes, as all parents do, I was devoted to my kids. I walked them to school every morning and walked back to pick them up at 3.
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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.
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The thing that makes writing so difficult is you don't have the element of serendipity. At least with a photograph, you can set up the camera, and something might happen. You might be a lousy photographer, but you can get a good picture if you just take enough of them.
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I try and take the commonplace - and some of it is writ large, like death - take the commonplace and make it universally resonant, revelatory, and beautiful at the same time.
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I'm not a good photographer, not a good writer. I'm a pretty regular person whose insecurity is so pervasive that it makes me always feel vulnerable.
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I guess I have a certain willingness for audacity.
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It's a touchy subject, but as a Southerner, you can't ignore our history any more than a Renaissance painter can ignore the Virgin Mary. And it's impossible to drive down a road or eat a vegetable or pass a church without being reminded of slavery.
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At the age of 16, my father's father dropped dead of a heart attack. And I think it changed the course of his life, and he became fascinated with death. He then became a medical doctor and obviously fought death tooth and nail for his patients.
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Don't get between me and a really good picture in the darkroom, because then I want to go straight to the darkroom and develop it. But once that's done, I'm fine.
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I couldn't deal with a normal life.
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Weeks go by, and I don't talk to another living soul.
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I feel I'm a strange mixture of insecurity and strength. Most of us, probably most people. I'm transferring that same concept to the people I photograph.
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I'm not an ardent feminist - well, maybe I am an ardent feminist. I just roll my eyes at the way women are constantly used and how sensitive men are about photographs of themselves.