Stephen Shore, South of Klamath Falls, Oregon, from Uncommon Places from interview:
SS: So how my pictures are seen now, as opposed to the early 70s, I see a tremendous difference. People say my pictures are nostalgic, my pictures aren’t nostalgic, they’re nostalgic! My pictures are just pictures. When they were shown in the early seventies in New York, there was no hint of nostalgia. Some people who didn’t get them said, well, it’s just like looking at the world, why would anyone want to show me this? There was no distance from it, now there’s a distance of time.
BRS: In your own work, you’ve set certain rules such as not cropping the image, is that something you only impose only upon yourself, or do you expect that from your students as well?
SS: I don’t want my students to crop, it’s for a simple reason. I want to put as much pressure on myself, and on them, so that they don’t feel that the decision is a soft one. I do some commercial work, and I’ve learned that to sound like a pro, when the art director says “well, what about that one,” I’ll say, “don’t worry, we’ll take care of it in post.” You get used to saying it, you see something you don’t want in the picture, but it doesn’t matter, “we’ll take care of it in post.” But that’s a kind of fuzzy thinking, and it’s fine to meet the requirements of the commercial job. But in the game that I set for myself, I want to be able to make a decision on the spot, and I want my students to. My hero, Walker Evans, he cropped all the time, so it’s not a moral stance, it’s a strategic one.
