American - Photographer | May 1, 1951 -
I have a vivid, apocalyptic imagination.
Sally Mann
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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 be Susan Sontag. I'm not very good with abstract thought. I always just take to the emotional core of me.
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Weeks go by, and I don't talk to another living soul.
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I just started taking pictures, and it was - it was an instant love affair. It was just ecstatic.
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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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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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When you look at your life as an artist, you do see that when you get to be 60, you're coming - this is the last chapter.
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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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When we were on the farm, we were isolated, not just by geography but by the primitive living conditions: no electricity, no running water and, of course, no computer, no phone.
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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 baked bread, hand-ground peanuts into butter, grew and froze vegetables, and, every morning, packed lunches so healthful that they had no takers in the grand swap-fest of the lunchroom.
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