A Quote by Sally Mann

Don't get between me and a really good picture in the darkroom, because then I want to go straight to the darkroom and develop it. But once that's done, I'm fine. — © Sally Mann
Don't get between me and a really good picture in the darkroom, because then I want to go straight to the darkroom and develop it. But once that's done, I'm fine.
I fell in love with the darkroom, and that was part of being a photographer at the time. The darkroom was unbelievably sexy. I would spend all night in the darkroom.
I told myself, 'When I grow up, I want to make pictures that can inspire and nourish people.' Immediately, when I was 10, I started photographing nature. I built a darkroom. My first really good darkroom, not just down in the cellar, was when I was 14.
My father taught me photography. It was his hobby, and we had a small darkroom in the fruit cellar of our basement. It was the kind of makeshift darkroom that was only dark at night.
It was amazing to watch him in the darkroom at an advanced age, still get excited when the results were pleasing. He still struggled like we all do in the darkroom and he struggled behind the camera, and when he had a success he was beaming.
There's something magical still about it when I get in a darkroom, and you've shot a roll of film and you develop it and you look at your negatives, and there's like imagery there. That always stuns me.
There's something magical still about it when I get in a darkroom, and you've shot a roll of film and you develop it and you look at your negatives, and there's, like, imagery there. That always stuns me.
I'm not against digital photography. It's great for newspapers. And there are photographers doing great work digitally. When they use Photoshop as a darkroom tool, that's fine, too. But at this point of my life, after so many years, I don't really want to change, and I still love film.
I still do all my developing and printing in my darkroom. Being in New York, you get tremendous exposure to great arts. In my student years, I saw exhibitions of August Sander and Diane Arbus. I still go back to their pictures. I don't really go for contemporary photo shows.
I was digging in the backyard to get my own clay and making pottery. And then I started taking pictures and built my own darkroom. I would go out at six in the morning and just take pictures.
Then I thought I was going to be a photographer. I tried a hand at darkroom technician. I played in a band. It took me quite some time to discover that I wanted to write.
Cameras always were seductive. And then a darkroom became available, and that's when I stopped doing anything else.
It's equally hard and labor intensive to create an image on the computer as it is in a darkroom. Believe me.
There is always the risk: something is good and good and good and good, and then all at once it gets awkward. All at once, she sees you looking at her, and then she doesn't want to joke around with you anymore, because she doesn't want to seem flirty, because she doesn't want you to think she likes you. It's such a disaster, whenever, in the course of human relationships, someone begins to chisel away at the wall of separation between friendship and kissing.
The darkroom is just the means to an end.
Fear is the darkroom where negatives are developed.
Darkroom work had, after all, never interested me except as a means to an end; the place I wanted to be was outside in the light.
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