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“It is tempting to draw a connection between Ansel Adams’ Moonrise, Hernandez and the tools he held in his hands—the Ansco 8x10 camera, the Taylor Hobson Cooke convertible lens. Yes, they made the image possible, but does the camera truly matter? Could it not have been a Deardorff or a Kodak Master View? What I’m trying to say, perhaps imperfectly, is this: It is never the machine that creates the image, but the soul behind it. The lens does not see; the photographer does. The camera is a vessel. The vision—the light, the shadow, the breath of the land—that belongs to the one who dares to witness.” — Craig Varjabedian
It is tempting to draw a connection between Ansel Adams’ Moonrise, Hernandez and the tools he held in his hands—the Ansco 8x10 camera, the Taylor Hobson Cooke convertible lens. Yes, they made the image possible, but does the camera truly matter? Could it not have been a Deardorff or a Kodak Master View? What I’m trying to say, perhaps imperfectly, is this: It is never the machine that creates the image, but the soul behind it. The lens does not see; the photographer does. The camera is a vessel. The vision—the light, the shadow, the breath of the land—that belongs to the one who dares to witness.