A Quote by John Sexton

In 1979, I received a phone call from Ansel Adams asking me if I would be willing to consider coming to work for him. I was teaching photography in Southern California at that point.
Black-and-white photography, which I was doing in the very early days, was essentially called art photography and usually consisted of landscapes by people like Ansel Adams and Edward Weston. But photographs by people like Adams didn't interest me.
My work is my language and I don't discuss it very easily. It's difficult for me to verbalize my feelings, or to intellectualize my work. In fact, it used to annoy me when Ansel Adams and Paul Strand yak-yak-yakked about what photography meant, and I told them so.
I went to Yosemite as an homage to Ansel Adams. I could never be Ansel Adams, but to know that's there for us - there's so much for us in this country.
Good photography is not about Zone Printing or any other Ansel Adams nonsense. It's just about seeing. You either see or you don't see. The rest is academic. Photography is simply a function of noticing things. Nothing more.
If I was concerned about being accepted, I would have been doing Ansel Adams lookalikes, because that was easily accepted. Everything I did was never accepted...but luckily for me, my interest in the subject and my passion for the subject took me to the point that I wasn't wounded by that, and eventually, people came around to me.
I received a phone call; my agent got a phone call from Ryan Murphy saying he wanted to talk to me... And he basically outlined 'American Horror Story' for me and said that there's a character named Larry the Burn Guy, and I'd like you to play it.
Quality doesn't mean deep blacks and whatever tonal range. That's not quality, that's a kind of quality. The pictures of Robert Frank might strike someone as being sloppy-the tone range isn't right and things like that-but they're far superior to the pictures of Ansel Adams with regard to quality, because the quality of Ansel Adams, if I may say so, is essentially the quality of a postcard. But the quality of Robert Frank is a quality that has something to do with what he's doing, what his mind is. It's not balancing out the sky to the sand and so forth. It's got to do with intention.
In 2012, I received a phone call from the family of Arsala Rahmani, the Afghan senator with whom I'd become friendly. That morning, a gunman had pulled up alongside Rahmani's vehicle, idling in a crowded intersection, and shot him point blank.
I first came into the radar of the U.S. intelligence when I received a call from my cousin Mahfouz. It was 1999. He wanted me to help him transfer some money to his sick father. And he called me from the phone of UBL.
Going to the Huntington gardens and libraries was radically important for me. They have one of the best collections of 18th- and 19th-century British portraiture that you can imagine in Southern California. One doesn't think about Southern California as being the capital of great art.
In 1996, I received a Ph.D. in Educational Psychology from the University of Southern California.
I was living in Monterey, a place where the classic photographers - the Westons, Wynn Bullock and Ansel Adams - came for a privileged view of nature. But my daily life very rarely took me to Point Lobos or Yosemite; it took me to shopping centers, and gas stations and all the other unhealthy growth that flourished beside the highway. It was a landscape that no one else had much interest in looking at. Other than me.
The attorney general called and asked me if I was willing to be interviewed for FBI director. And the truth is I told him I didn't think so, that I thought it was too much for my family. But that I would sleep on it and call him back in the morning. And so I went to bed that night convinced I was going to call him back and say no.
I keep "leave me alone, I'm busy " pretending to work sign with me because my dad once told me to find a job that you would do for free and I would do this job for free. But I would be a performer for free because that's all I've ever loved to do. I've worked so hard to get to the point where work doesn't feel like work. So when I come to work, I'm actually coming to play - I'm coming to recess. So, when you see me, leave me alone, I'm busy ... pretending to work.
I received a phone call from the chief executive of my principal sponsor [Marlboro], who actually told me that it would be in the interests of the sport if I started to lose races. Which, I mean, just blew my mind.
And as part of my activity there, he had indicated he wanted me to work with him on that and conduct the various technical tests. And so a few months later I moved from Southern California up to the Monterey Peninsula where I still live today.
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