“O.K. So it’s banal, but ‘The Family of Man’ set me off and I’ve been trying ever since. Trying to become a photographer and not just someone who takes photographs. I became a diarist with a camera. I tried to simply record the things which interested me from day to day. I taught myself enough rough technique and practice continually. Even now I sit in front of the tele and watch junk through an 85mm, move dials, press buttons and go through all the motions. I honestly believe this helps. I became less conscious of the camera and it more a part of me. My prints are rough hard and grainy, which just what Sydney is like. The light is fierce, the summer hot and humid, the bush inhuman and the population complacently cruel enough to accept two decades of flabby self-congratulatory ignorance, cushioned and smothered by the soft folds of the Menzies arse. This is a harsh society with few shades of grey, where paradise is still a Monaro with four on the floor and up you Jack I’m alright.” — John Williams 1974
As John used to say: “Just because you’re paranoid, doesn’t mean they’re not after you”
Sweet! I’m embarrassed to say that The Family of Man was SO important to my aesthetic/intellectual development–or whatever it was. I loved that book in high school. I remember being kind of depressed when years later I read Sekula’s critique of it. He was right, I knew, but it was a moment of lost innocence for me.