A Quote by Galen Rowell

Wanting to take a light camera with me when I climb or do mountain runs has kept me using exclusively 35 mm. — © Galen Rowell
Wanting to take a light camera with me when I climb or do mountain runs has kept me using exclusively 35 mm.
For me, couture is like 35 mm. film. It's so important we school ourselves to see real quality. In a couture garment, as in a 35 mm. film, you really feel the life of the people who made it. In high-street fashion, it's different. There's no risk.
My lens of choice was always the 35 mm. It was more environmental. You can't come in closer with the 35 mm.
Once you change the technology - from a film camera to a video camera, or from an 8-mm camera to 16 mm - you change completely the content. With 8 mm, a leaf on a tree will be made up of maybe four grains. So it's very impressionistic, almost like Seurat. If you switch to 16 mm, the technology gives you hundreds of grains on that leaf.
For many years, I was on working on films which were so small of a budget that I could not even build a set. So, when I was finally able to work on set, it was a rewarding moment. I felt the same feeling when the camera changed from 16 mm to 35 mm.
I was so besotted with '8½' that, when it was on TV, I used to take pictures with my 35-mm. camera of the frames of the film. That was the first time I'd ever really seen Italians on screen.
I was known as a 35-mm photographer with a view-camera mentality.
I am not going to be dictated to by the size of the camera. I use everything from an 8 x 10 to a 35-mm. But I don't use these modern cameras which break down all the time !
Resolve says, 'I will.' The man says, 'I will climb this mountain. They told me it is too high, too far, too steep, too rocky, and too difficult. But it's my mountain. I will climb it. You will soon see me waving from the top or dead on the side from trying.'
Lions and Lambs, love and force, light and fire, good and evil: all things climb the same mountain, the mountain of God.
I think the equipment you use has a real, visible influence on the character of your photography. You're going to work differently, and make different kinds of pictures, if you have to set up a view camera on a tripod than if you're Lee Friedlander with handheld 35 mm rangefinder. But fundamentally, vision is not about which camera or how many megapixels you have, it's about what you find important. It's all about ideas.
Of course I climbed Everest without oxygen, but it's not the end of the story for me. The summit itself is not what counts. It's how'd you get there, what'd you climb, and there are really great opportunities to climb on this mountain. It's a beautiful place.
Any road followed precisely to its end leads precisely nowhere. Climb the mountain just a little bit to test it's a mountain. From the top of the mountain, you cannot see the mountain.
This is going to sound cheesy, but with acting there are so many tools. When you're on camera, you're using all of it. You're using the voice, you're using your body, you're using wardrobe, all of it, but it's funny, once you take all of those things away, you realize how much you rely on the physicality.
Also, in my bedroom, nobody minded if I kept the hall door half-open, allowing in enough light that I was not scared of the dark, and, just as important, allowing me to read secretly, after my bedtime, using the dim hallway light to read by, if I needed to. I always needed to.
We as children went up the mountain to find feed for livestock, like goats, cows and horses, and because in the winter time we would light the fire in the house, we would climb the mountain to collect firewood as well. Because of that, I suppose I became used to climbing mountains.
For low light, all the light rays participate. We're using all the light coming through a large aperture to make a picture with a large depth of field - totally impossible with a conventional camera.
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