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Quote by Max Pam

“[My photography teacher] gave me the Mexican Day Books of Edward Weston and just blew me away with this work. The fact that you could be this fabulous visual artist, with all this milieu of people like Diego Rivera and you could sleep with these gorgeous, amazing women, that you could live that life - that photography could deliver you that life.”

Quote by Max Pam

Author

Max Pam, born in 1949, is an Australian photographer renowned for his unique visual style and profound insights into social phenomena. His work covers a wide range of subjects, including nature, humanity, and society, often reflecting his deep concern for the environment and human condition. more

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“I set a discipline for myself to return every afternoon and take photographs like Edward Weston: f22, full sun, big set squares, big circles. I would smoke a joint with some hippies on the grass, then go do some more pictures.”

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“Photography's about the surface, what's happening at the top of the sea. Literature's about all the stuff below.”

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“It's unarguable to say that every one of us has been moved by the beauty of what I have called snapshots, but for photographers they are charms and proverbs, and like lightening or wild strawberries.”

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“Cameras are like dogs, but dumb, and toward quarry, even more faithful. They point, they render, and defy the photographer who hopes.”

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“[The photograph] is fabricated out of the unfabricated dross of passing life (while paradoxically still trading on the indexical heft of that dross).”

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“My argument against the set-up picture is that it leaves the matter of content to the imagination of the photographer, a faculty that, in my experience, is generally deficient compared to the mad swirling possibilities that our dear common world kicks up at us on a regular basis.”

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“I believe that the (distorting) mirror which is photography holds an intrinsic, even elemental, relation to writing.”

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“By being fictions and, at the same moment, returning their subjects to us with a compelling fidelity, both photographs and poems work with the same surprise... both strike us as if they were simultaneously remembrances and revelations.”

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“Ansel [Adams] always jumped over the fence to photograph, walked past the garbage. He always looked to get an immaculate view, and I spent my life stepping back to include the garbage in my photographic view.”

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“You have to bring to the photograph a prejudice about something, and I'm prejudiced against farmers who tie dead animals on fences. Therefore, I can make a meaningful photograph.”

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