Tyler Green: I want to get into some questions about the way you use light in your pictures. And I think to start with those…you live in Oregon now, you've lived in Oregon since the 1990s, and probably the place to start is to ask why you moved to Oregon from Colorado?
Robert Adams: That's a hard one to answer fully, but part of it was that we had been coming to Oregon for summers, and for the odd winter shooting time, and I knew I loved the place, and I also found that it was,….it was a rest, actually, from the electricity of Colorado. It often was like somebody just running high voltage through me to work there. In fact there were times, Kerstin would tell you, I would come out of the darkroom and I don't know whether it's my imagination or not but I swear I could tell in the darkroom when the sun went under and then came out from a cloud. It's just extreme. And coming out to Oregon it was like somebody turned off the switch somehow.
So I knew there was something out here that was pleasant. And I also knew that for a while anyway that I was exhausted not only by the light which is beautiful but by the problems in Colorado. So we came to Oregon and then of course being the contrarian that I am we weren't here very long before we headed inland and found problems here in the landscape that then took us in new directions. But it is very different to work out here as opposed to Colorado. The light here is soft for almost all seasons the whole year round and it doesn't change quickly or abruptly. It's more like somebody's constantly fooling with the rheostat, sort of dimming it slowly and brightening it a little. So it's a wholly different experience. And I have to admit that at the moment I'm very homesick for Colorado. So there you have the very truth of it.
‐Excerpted from MAN Podcast 8/16/12. Thanks to Wayne for the tip.
View from the Adams house in Astoria, Oregon, by Robert Adams
Robert Adams: That's a hard one to answer fully, but part of it was that we had been coming to Oregon for summers, and for the odd winter shooting time, and I knew I loved the place, and I also found that it was,….it was a rest, actually, from the electricity of Colorado. It often was like somebody just running high voltage through me to work there. In fact there were times, Kerstin would tell you, I would come out of the darkroom and I don't know whether it's my imagination or not but I swear I could tell in the darkroom when the sun went under and then came out from a cloud. It's just extreme. And coming out to Oregon it was like somebody turned off the switch somehow.
So I knew there was something out here that was pleasant. And I also knew that for a while anyway that I was exhausted not only by the light which is beautiful but by the problems in Colorado. So we came to Oregon and then of course being the contrarian that I am we weren't here very long before we headed inland and found problems here in the landscape that then took us in new directions. But it is very different to work out here as opposed to Colorado. The light here is soft for almost all seasons the whole year round and it doesn't change quickly or abruptly. It's more like somebody's constantly fooling with the rheostat, sort of dimming it slowly and brightening it a little. So it's a wholly different experience. And I have to admit that at the moment I'm very homesick for Colorado. So there you have the very truth of it.
‐Excerpted from MAN Podcast 8/16/12. Thanks to Wayne for the tip.
No comments:
Post a Comment