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John Sexton

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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The reason I do workshops is so I can learn, and I am fortunate that I've probably gained more from the whole experience of teaching than any one participant has. It is all about asking.

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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.

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For me the printing process is part of the magic of photography. It's that magic that can be exciting, disappointing, rewarding and frustrating all in the same few moments in the darkroom.

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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.

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When the object that is produced, the photographic image has the ability to make tears come to your eyes; to inspire you to the point where you have to catch your breath, then nothing else matters.

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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.

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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.

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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.

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I think the greatest photographers are the amateur photographers who do it because they love it. Arnold Newman is a good example; he is a consummate professional, but he's also an 'amateur' in the pure sense of the word.

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