She entered a state where prayer and poetry became one and the everyday world seemed full of holiness and significance.
You can tell a good ruined lens, right from the get-go. . . . That’s the kind of lens I'm looking for.
I like to make people a little uncomfortable. It encourages them to examine who they are and why they think the way they do.
One of the things my career as an artist might say to young artists is: The things that are close to you are the things you can photograph the best. And unless you photograph what you love, you are not going to make good art.
Photographs open doors into the past, but they also alloq a look into the future
The things that are close to you are the things you can photograph the best.
I struggle with enormous discrepancies: between the reality of motherhood and the image of it, between my love for my home and the need to travel, between the varied and seductive paths of the heart. The lessons of impermanance, the occasional despair and the muse, so tenuously moored, all visit their needs upon me and I dig deeply for the spiritual utilities that restore me: my love for the place, for the one man left, for my children and friends and the great green pulse of spring.
The very reason for the First Amendment is to make the people of this country free to think, speak, write and worship as they wish, not as the Government commands.
Stay on the Lord's side, and you will win every time.
It is a fallacy to think that carping is the strongest form of criticism: the important work begins after the artist's mistakes have been pointed out, and the reviewer can't put it off indefinitely with sneers, although some neophytes might be tempted to try: "When in doubt, stick out your tongue" is a safe rule that never cost one any readers. But there's nothing strong about it, and it has nothing to do with the real business of criticism, which is to do justice to the best work of one's time, so that nothing gets lost.
Lessons are not given, they are taken.