Raintree County Website
The Fine Art Photography of Marion L. Brown
by Mark Sean Orr
April 11, 2011
Marion L. Brown is a fine art photographer living in Petal, Mississippi. His photographs have been widely
exhibited, published and collected. They have been exhibited widely in the USA, Italy, Germany, Finland,
Russia and other European Countries. They are in collections at International Center of Photography in
New York; International Photography Hall of Fame in Oklahoma City; Corcoran Gallery in Washington, DC;
Fine Arts Museum in Houston, Texas; Fine Arts Museum of the South in Mobile, Alabama; Mississippi State
University; Mississippi Museum of Art in Jackson, Mississippi; and photos published in Museum Ludwig's
(of Cologne, Germany) exhibit catalog, in collections at Reiss-Engelhorn Museum in Mannheim , Germany;
Center of Photography in Atlanta, Georgia, and the world-famous Helmut Gernsheim Collection. Marion
published the Journal of Photographic Creativity & Expression for 7 years.

Marion attended Ansel Adams' Workshop and Paul Caponigro's Workshop. Assisting at the Adams’
Workshop were the great photographers: Brett Weston, Jerry Uelsmann, William Garnett, Lucien Clerque,
Henry Holmes Smith, Wynn Bullock, Alan Ross. He has also studied under Paul Caponigro, and Bruce
Barnbaum and Jay Dusard.


He is a frequent lecturer on creativity, photography & art and workshops' teacher. His writings and
photographs have been published in numerous photography magazines. Marion has won awards for
record album cover and Corporate annual reports,been awarded Mississippi Institute of Arts and Letters
award as best photographer of 1997 and was nominated two other times. The Mississippi Museum of Art
Quarterly Magazine in early 1990 wrote that Marion Brown was probably Mississippi’s most influential
photographer.      

Aside from being a great photographer, Marion is a wonderful teacher and devotes much of his time
helping new photographers learn the ins and outs of this hobby/profession we all love so much. I am a fan
of Marion's work and have great respect for his vast knowledge of photography and art.
The following is an interview I did with Marion.....hope you enjoy!
Mark Orr
April 1, 2011
Hi Marion. Thank you for taking the time for this interview. I was honored and thrilled to include
your work and introduction for my book "21st Century Photography" and I enjoy your friendship
through the Ovation Tv Commiunity. I love your work and am excited to learn more about you
and your wonderful photography.
You grew up in Mississippi...what was your first experience with photography?
I got a box camera, film, developing kit and printing materials for Christmas at age 12. I made my first
photos of Yazoo River that was frozen over for first time that anyone could recall. A local restaurant owner
bought 5 of them for 50 cents. That was a lot of money for a kid in those days. Right away, I thought
photography was for me.

Wow...so you were a professional from a very early age. That must have been really exciting and
encouraging.
Yes, it was exciting and motivating.

Tell us what were the next important steps.
From about 1957 until about 1965, I entered and won a lot of Eastman Kodak Newspaper contests which
were  held about 8 times yearly by Memphis Commercial Appeal. At end of the contests, overall winners
were picked and sent to Kodak for more judging. I won the yearly awards a good many times and several
National awards. Some of my photos were put in traveling Kodak exhibits and two were  published in a
Kodak book.

Also during those years you worked for a major chemical company. That job directly influenced
your understanding of the process of photography, particularly work in the darkroom, and led to
years of study of the creative process.
For 38 years I worked for a major chemical company as a chemical engineer doing research on processes
and products and managing their research and engineering division. This work led to some very interesting
findings that would spill over into my photography. First, my knowledge of chemistry helped me understand
darkroom work and how to modify it when desired. More important was an event that would forever change
my life.

For weeks, a co-worker and I had been working long hours trying to develop a new process and correct
mistakes in another. These problems were causing big problems with our plant and its product. The work
involved chemical reactions and their properties. Trying to apply known technology and equations to the
situations was not working.

One day, after working 12 hours on the problem, I went to bed frustrated. After an hour or so, I finally went
to sleep. About 4 hours later, I was jolted awake by a dream, immediately realizing that the solution to the
problem was flashing across a screen in my brain. At least, It seemed like a dream. Realizing its
importance, I got up, wrote down the math equations and chemistry that it had flashed to me, and went
back to bed.

The next morning I wrote the sequence of equations that “my dream" had presented. Using them, I
calculated an answer that I thought it might produce if I made samples prepared in the lab according to the
calculations. My co-worker and I went to the lab, made the samples and ran tests on them. Halleluiah! The
test results produced the exact answer the lengthy calculations had produced.

This shook me up so that I couldn’t get it out of my mind, "How could this have happened?" "How could I
have dreamed up something so complex?" Because I wanted to know so badly, this sent me on a life-long
journey to learn as much as possible about creativity: where it comes from and how it happens. My study of
creativity went on for over 30 years.

Soon, I discovered that everything that became part of the final solution and equations was in my brain
when the creative solution awoke me that night. Second, I learned that my brain and that of my co-worker,
had worked on the information and possible problems for weeks. Finally, I realized that everything that was
part of the solution was in my brain before the creative solutions popped out and that all the information
had been thought about for some time. This energized my subconscious to work on the problem as I slept.
Later, studies and discussions with psychologists and psychiatrists confirmed that the subconscious
continues to work on problems after we consciously quit working on them.

The brain is a fascinating organ. What an awakening that must have been. I too believe that the
information was there because of your vigorous and studious research. Once the stress of the
day was over, your brain could, and did solve the problem for you. Amazing!
And this led you to believe what...about creativity?
My studies into the psychology of the brain and the study of “the creative process.” conclusively revealed
that creative ideas do not just drop out of the sky with no previous knowledge and experience. Creative
ideas come from re-arranging information, feelings and experiences that a person possesses into new
arrangements or into something new. I learned that you put together knowledge, experience and feelings
you already possess with new things you encounter to create something new. But, you must already have
a lot of these things in your mind before you can combine something you come upon. You simply cannot
produce a creative idea from nothing; your brain must have the basic information, feelings and experiences
from which to derive the creative idea.

This revelation made me realize a lot about what I needed  to do to be creative in photography, I had to
learn the basic skills of camera, film, film processing and printing. More importantly, I had to learn a lot
about composition and how to recognize potential subjects for my photographs. I had to stock my mind with
rich experiences and knowledge from which to produce creative photographs. And most of all, I had to
learn a great deal about composition.

To succeed in photography, the photographer must be capable of using composition, illumination,
techniques, and colors or tones with his or her feelings about the subject of photograph.


























And how did you proceed in your journey to be creative in photography. How did you go about
storing up the necessary information that would guide you into becoming a better
photographer? What was your starting point?
In about 1963, I went to a major photography exhibit at the Chicago Institute of Art. There I saw an exhibit
of work by many of the masters: Ansel Adams, Edward Weston, Paul Strand, Dorothea Lange, Imogene
Cunningham, Irving Penn, and many more. I was awe-struck at the tremendous power of the photographs,
which were the most beautifully produced photographs I'd ever seen. I went back the next day to study
them, discovering that each photograph was well-composed and that each photographer knew exactly how
to make the highest quality prints I'd ever seen. This made me realize I wanted to be able to produce prints
that were much better than any I'd done. Ansel Adams’ prints struck me with their fantastic quality,
sharpness and expressiveness. All of the photographs were powerful and unique, making me realize what
truly fine art photographs are. I left determined to learn how to greatly improve my print quality.


So you decided to learn the art of photography by studying, among others, Ansel Adams?
I bought Ansel Adams’ books on his Zone System and printing. Slowly, I begin to understand his systems.
By about 1973, I had learned the basic points of the Zone System, but still didn't realize how to use it very
well to get feelings into my photos.

Soon after this, I attended a 9-day Ansel Adams Workshop. I arrived extremely excited because I was
already using Adams' Zone System and wanted to listen to him and see him make prints, etc. Yet, I had no
idea how much the workshop would do for me.


Ansel had brought in an array of master photographers that I still find hard to believe teach, to lecture, and
to critique students’ photographs. These included: Wynn Bullock, Jerry Uelsmann, Brett Weston, Lucien
Clerque (famous French photographer), William Garnett (the most famous fine-art, aerial photographer},
Ansel Adams, Henry Holmes Smith (a leading photography teacher) and Alan Ross who was Ansel’s
assistant.


These masters taught us so much and created so much inspiration in me that even today, it excites and
inspires me. Several things happened at this workshop to cause me to suddenly realize what great
photography was all about and how to thus greatly improve my photographs, so as to use light and
compositional ideas as the means of expression.

Watching Ansel make a fine art photograph was most revealing, as he went through the making of about
10 prints to get to the final one that he thought was right. His explanations as he went were quite clear and
extremely enlightening, showing how he made the whole print come together by lightening some parts,
darkening other parts and adjusting the final exposure and development to make everything come out
great. As he proceeded, he explained how he was working to get the light to carry the expression.

Then, Bill Garnett took a small group of us to Brett Weston’s house to view Brett’s photographs and listen
to him talk about them. Brett talked a little and then started showing us his mounted prints, one at a time.
The entire group was spell bound as we viewed one amazing and fantastically beautiful print after another.
The black and white tones of each print were absolutely beautiful and the prints were extremely sharply
focused. Bill commented that the photographs were fantastic and full of luminosity. A student then asked
Brett, “How do you get that luminosity in your prints?” Brett answered, “It is there in the scene when I
choose to photograph it. It is a sense of light. You must have it or you might as well throw your cameras
away.” Wow, that got my attention immediately. For weeks after that, his words rang out loud and clear in
my mind. Within a few weeks, it all came together: I realized I had to learn to see potential subjects for my
photographs in terms of finding expressive light.

Coupled with what I learned from all of the masters at Adams’ Workshop, I soon began to learn to see in
terms of light as the means of expression and to development my own compositional ideas. With this came
a sudden ability to find potential subjects everywhere to photograph. And, I soon learned to produce high
quality B&W prints in the darkroom. This added to my ability to envision what a scene would look like in a
finished photograph when I was searching for things to photograph.


In my mind, I kept hearing Brett say, “You must have a sense of light!” Thus, “A Sense of Light” became my
driving force.




































What do you think inspires you to make photographs?
Over the years, I have made many photographs, and still do, had many exhibits, my work was reviewed by
over a hundred experts: master photographers, museum directors and curators and famous photography
teachers and collectors. My work was purchased by major collectors, published along with my articles in
major photography magazines, and exhibited world-wide. These things have kept me inspired to keep
producing photography.
Still, there s another factor that keeps me going; that is: I make it fun. All through my years of development
and thereafter, I’ve made it fun. I’ve made the learning fun by constantly experimenting and working to
learn more. And, I never strived to have it all happen suddenly, always believing that anything worthwhile is
worth putting forth a continuous effort to improve. In my experience, most people fall into a trap and usually
quit or at least back off a lot because they don’t get famous quickly and they don’t make it fun. They want
there work to be highly acclaimed overnight yet it doesn’t often happen this fast. And, they make the
pursuit of photography a chore rather than a fun thing.

You also were in publishing.

For seven years, I published the quarterly, Journal of Creative Photography, which discussed many
aspects of creativity and of becoming a creative and expressive photographer. For 12 years, I taught
Photographic Creativity & Expression Workshops. Both of these included much about what I had learned
about “the creative process.” I also taught “The Zone System of Photography Workshops” for many years.




































I think the three biggies in photography are subject, light and composition in equal degrees.
We've discussed light....how would you define the complexities of composition to a
photographer just starting out? Or is it complex....I've read all the basics about the "rule of
thirds" and the triangular compositions etc., but I think it's just as much something innate that
we may know from scratch or develop (or hone) after years of composing photos and seeing
what works and what doesn't.

Mark, from examining my own growth and my experience teaching, I think most beginning photographers,
and even many with experience, first mistakes are that they think that:
(1) Gaining a thorough understanding of techniques and of composition is unimportant and a waste of
time; the camera is automatic so they leave it at that. Many believe it wrong to manipulate the image in the
darkroom or on the computer.
(2) They don’t study composition and the works of masters, so they have no conception of what great
works of art look like; they have nothing to compare their work to. In the past few months while waiting in
Doctor’s Offices, I spent much time reading about many famous artists and photographers. Each of them
studied other artists’ works and/or studied under other artists. Most acknowledged their influences.
Much study of hundreds of great artists and photographers has yet to turn up a single one who did not
study or was influenced by others. We are all already influenced, so we have to change to grow . So, it
makes no sense to not choose the best you can find to influence you.
(3) These studies of the great artists paintings and photos clearly show that each of the artist do indeed
use the same compositional principles. While they don’t often ignore the Golden Mean Rule and other
rules, they do use these principles: Lines, shapes, colors, spaces between objects and people, and light to
direct the eye around the picture, and to bring the whole composition together.
Most use the same types of elements to produce tension and movement, such as: light and darkness,
angular shapes, volumes, circles, lines, etc. They highlight what they want to draw the viewer into certain
areas and to cause viewers to connect parts of the picture. It really is amazing how little variation you see
from one master’s pictures to another when it comes to using the basic principles. By this, I don’t mean all
artists put things on the Golden Mean points or main interests off center, etc. Recently, I saw a very
powerful painting that had the main figure of a person right at the edge of the picture and moving towards
the edge, yet the picture used the same principles of light and dark that the other artists used  to bring it all
together; they used movement, tension; each used the picture’s edges quite well and in similar ways.

My work was helped tremendous by studying art composition, including the Golden Mean Rule, because it
helped me greatly to recognize order and help me see different kinds of order in other arrangements. I
never try to use the Golden Mean Rule and doubt anyone can find it in any of my photos. Yet, learning it
and other rules showed me what orderly is like. Learning any forms of order helps you recognize order in
what you want to do.
It’s like learning musical rhythm, notes, harmony, etc. You can’t play in your own style until you know all
about all of the parts that go into music. How can a great jazz or classical musician improvise a great solo if
they know nothing about all of the parts and about composition? To improvise is to compose as the
musician plays, out of his accumulation of knowledge of composition, rhythm, etc.. So, it is with artists and
photographers: they improvise out of their knowledge, experiences, feelings, etc..

On Teaching
Examining my own development helped me to understand where my students were in their pursuit of
photography. So, I developed teaching plans based on what I had been through and on what kinds of
things helped and inspired me. Along the way, I modified my methods as I saw what students needed.

To summarize, I feel strongly that students must learn techniques first. They will never realize the potential
of most scenes they could photograph nor will they realize that many scenes will not work well because the
lighting is so poor. Just because something has nice shapes or colors, etc. doesn’t mean they will produce
good photos. You have to learn techniques so well that you can envision in your mind’s eye how a finished
picture of that scene can look.

When you learn and practice these things, you will become intuitive in seeing and this is when you will start
producing meaningful pictures. This is when you become capable of digging deep into your subconscious
to express your true and unique feelings without struggling over every part of it. Then, you will have your
own style!


The second thing the new photographer must learn is when the light is such that the subject may be
capable of producing expressive results.

They should study the master painters and photographers works to seek how the tremendous power of
their works because of the way the light is used and revealed. In photography, you must know a lot about
techniques to be able to capture light in all-of-its splendor. I did not know how to capture or look for
expressive light until I learned Ansel Adams’ Zone System of metering, film speed rating, film development,
handling printing choices and development, etc. Once I learned this, I started seeing potential subjects
everywhere, in everyday things and places I had overlooked.


Look at how Rembrandt used light for example. Look at Ansel Adams, Brett Weston, Edward Weston,
Karsh, Arnold Newman. Paul Caponigro and his son John Paul Caponigro (color), Meyerowitz (both his
landscapes and his street photos), etc. You’ll see how they use light. Light is as much of a compositional
element as line, shape, colors, hues, etc. I go so far as to say that light is the single most important
element of composition. But, no one will ever be capable of using it unless they learn techniques and the
ways light brings compositions together. In every picture, there is usually a part that is light brighter than
the rest of the picture and if used to its fullest, can make a subject come to life.

It is equally important to have a great deal of knowledge about composition. I’ll discuss that later.

For those still trying to learn, I find several things that are helpful.
1. Most photographers include far too much in their pictures, including far too much that is distracting.
They pay little or no attention to extremely distracting backgrounds such as brightly lit objects, reflections,
etc. that have absolutely nothing to do with what they wanted to feature in their pictures.

2. Pay little or no attention to how you crop a picture from its surrounding so as not to include distractions
and to keep in mind that the edges form important shapes with the things they cut off. I have an exercise I
assign my students that helps them greatly: I tell them to find something that they want to include in their
picture. Then concentrate on how they cut if off from surroundings with their emphasis on what they place
near the picture’s edges and how they cut off objects. Amazingly, this simple exercise produced some
excellent photos from many students whose photos were quite poor at that time.

3. Pay close attention to the way light illuminates a scene and remember that shadows are a tremendously
important part of any picture. Look at how masters use them.
4. I continually remind my readers and students that: “Everything they include in a picture either adds to it
or takes away from it.” Therefore, examine the whole thing when deciding what to include and what to
exclude.

5. Constantly study your pictures to see what you like and what you dislike about them. Constantly look for
ways to improve. There is no exercise much better than to play around with various ways to crop your
photos. This will begin to teach you that what you can do to improve a picture, how a picture can be ruined
if you crop poorly in the camera on the finished print.

























I'm a huge Stephen King fan. I think he is one of the finest writers of our generation. When
asked how to become a writer, King's answer, in part was "read everything!". Not just "how to
write" books, but everything you can get your hands on by other writers. I feel this is equally
important in becoming a good photographer. Do you share this philosophy?

Absolutely! In fact, in my Journal of Creative Photography, I once drew parallels between writers and great
photographers. I wanted to point out how a writer takes simple words and does nothing more than arrange
them into a new combination to get an extremely unique and wonderful piece.

I gave the example of Shakespeare who wrote, “Love I never knew until your love smiled at me.” I wrote that
what Shakespeare did was to take everyday words and rearrange them into a highly creative arrangement.
It would be hard to imagine how these words most simple words could be arranged any stronger. And that
this is what a painter or photographer must do. And that this takes a person who has a good knowledge of
basic stuff and the knack for playing around with the way things are arranged. To me, that is what finding
good compositions is all about.

In music, the great musicians are those that can take a composition and play it in their own way with
feeling. To merely hear a tune played exactly as written leaves the listener wanting much more. Creative
musicians improvise: I call it composing as they play; this being most creative of all. Likewise, the
photographer needs to know his tools and materials so well that he or she is capable of improvising.

There is no better way to learn about what great art is about than to study the works and writings by the
masters. I’ve spent years studying the lives and works of both famous artists and photographers. I have yet
to find one who was not influenced by other artists (writers, photographers, artists, musicians).

What equipment do you currently use and why?

A Canon EOSII with two lenses: a 25 – 70 mm macro lens and a 24 mm wide angle tilting lens. The first one
works well for about 90% of my type work and the tilting lens is used for wide angle shots and for ones
where I want to keep building walls or other things from tilting inwards.

I’m a poor one to ask about camera’ or lens’ purchases. I don’t keep up with the many choices. My
suggestion would depend on the person’s ability to pay and where their level of photography is. For a
serious beginner, I suggest they start with a camera that would cost about $200.00, complete with lens
(approximately 35-70mm or 28-120 mm of similar, and stay with well-known brands such as Canon, Nikon
and the likes.

For my B&W film work, I had a Hasselblad 2 ¼ X 2 ¼, a 4x5 view camera (uses a black cloth over my
head), a Leica 35 mm. I started with simple much cheaper cameras and gradually added better ones.
Cameras don’t make or break a picture; it is the person behind it. I’ve seen great work made with $200-300
cameras, and even with cell phones. And, I seen absolutely awful photos made with $3,000-5,000 cameras
and lenses. I’ve known several persons who owned $15,000 to 20,000 worth of equipment, yet they never
made many photos that were much more than mediocre. And, I've seen others made with a cell phone that
were very good.

Since the invention of photography, it's been said that photographs are not "real" depictions of
their subject. What is your take on this statement?

I believe this with all of my being. I’ve argued many times that no photograph looks like the original scene.
Nobody would be happy with a portrait that looks exactly like them. A picture that reflects their exact same
skin color and hues and blemishes would make the person look sick.

Film and digital captures do not reproduce what the eye sees, because film and digital sensors and cards
have a much narrower range of light intensities it can capture. So, it is imperative that the photographer
make the best use they can of these variables. If you learn the restrictions and how to use them, you can
make pictures more beautiful and more powerful expression of feelings than the eye can see. Even in
documentary and news pictures, you won’t see the picture that exactly duplicates the original subject. For
one very important thing, the contrast is usually either greatly increased or greatly subdued from what it is
in the original scene. Example: Cameras cannot capture detail in shadows or in highlights that human eyes
see.

Assuming we are speaking of journalistic/documentary style photography and not PhotoShop...  
can't a photograph capture a real moment in time...at least more effectively than any other
medium?

I’d have to give two differing answers. One, I believe photography can capture a real moment quite well.
But, to me, for that to be effective, the pictures have to exaggerate. Many will argue with this, but again I
believe the fact that camera cannot capture an origin scene exactly as it was, it is often advantageous to
make modifications.

The light and shadows can, and usually do, make a scene more dramatic, and it can, for example,
strengthen the happiness, sadness or the tragedy of the scene. Due to these factors, backgrounds often
turn out much darker than in the original scene, resulting in creating a stronger mood than the original
scene shows. I think even when the photographer is trying hard to reproduce original scenes, he or she
can’t overcome these limitations. Yet, these factors so often strengthen photographs.

I don’t advocate that a photographer try to misrepresent the original or the people; I’m just saying it seems
important to recognize these limitations.

Who are your favorites photographers?

Too many to pinpoint. But, initially Ansel Adams’ photographs made a huge impact on me, making me
realize for the first time what great photographs look like, and how far off my quality, compositions and
expression were. Edward Weston was next, to a great extent because he made such powerful compositions
out of the simplest objects and events. And, like Adams, his use of light was fantastic.

Next, I suppose it was Brett Weston because of the luminosity of his prints as well as his ability to turn
simple parts of a lot of scenes into masterpieces.

I love the works of too many other to detail, but they include: Paul Caponigro, his son: J. Paul Caponigro,
Michael Kenna, Karsh, Arnold Newman, Paul Strand, Sebastio Salgado, Jerry Uelsmann, Wynn Bullock,
and many others.

I love the works of too many others to detail, but they include: Paul Caponigro, his son: J. Paul Caponigro,
Michael Kenna, Karsh, Dorothea Lange, Imogene Cunningham., Arnold Newman, Paul Strand, Sebastio
Salgado, Jerry Uelsmann, Wynn Bullock, Robert Frank and many others. But, I have seen some  
photographs by each of them that do not work for me.
.

Do you display your own work in your home...and do you display the work of others? What's on
your walls...ha?

I have a couple of my pictures in my home. My wife is always getting on me for not displaying more. I’m just
too lazy to mat and frame them. We have some purchased reproductions by unknown artists on our walls.


Thanks Marion for this wonderfully insightful and educational interview! It has been a real
pleasure to do.
Mark Orr


Mark, it is a real honor to be interviewed by you. I’ve long respected your photography work and
philosophy, and have enjoyed seeing your well-conceived writings on Ovation. It has also been a pleasure
being part of your outstanding books on 21st Century Photographers.

Marion

You can see more of Marion's photography at:
Marion Brown at the Ovation TV Community Website
Mars Hill Rd. Sunset
Yellowstone Creek & Log in Fog
Cut Hay Field at Sunset, 2011
Colorado Stream
Old Shack Blue Barrel
Waffle House Atfer Hurricane Katrina, Mississippi.
Old Store, Ghost Town, Arizona, 1988
~ COPYRIGHT INFORMATION~
Photos on this page used with permission by Marion L. Brown.
This interview as it appears on the Collectors World online website is copyright protected by Collectors World Online and Mark Sean Orr. The
content provided by Marion L. Brown including his text and photographs are the property of Marion L. Brown and may not be reproduced,
distributed, transmitted, displayed or published without written permission from Marion L. Brown.
®2006-2007-2008-2009-2010-2011
Mark Orr®
Outstanding interview! Congratulation Mark! Congratulation Marion! I've always been a great admirer
of your wonderful art. Your presence at the Ovation Art Community is a blessing for all of us there.
Thank you for the opportunity to know you better as a person and as an artist.
Anna M. Dyba

"Wonderful interview Mark. Love what he says about creativity, light and studying the masters
works..Thank you so much for sharing this with us !!!"
Elsa Marie Santoro

An extremely interesting interview...what insight into the character and motivation of the
artist...Marion's Photographs are stunning and so diverse. Thank you for sharing this inspirational
interview and this gifted and talented artist.
Joanne

Well done.
ibanker52

Thank-you both, so very much!
solarrain

I always enjoy these interviews and this one is no exception.  It gives us a much more indepth look at
another friend on Ovation.  My first interaction with Marion was when I reviewed that first image in your
interview.  I told him I would really like to see it in color.  This immediately landed me in hot water with a
couple other members claiming I knew nothing about photography...yet I never claimed to.  Marion
was much more mature about the whole thing. I'm sure he realized that I knew nothing.  Thanks for
conducting these interviews.
theriff

Another excellent one.  I do hope that out of deference to Marion's advanced years, Mark didn't strap
him to the chair and use the electrodes like he did with me.
ent49

Wonderful interview with a wonderful awesome  talent.  Congratulations to you both!!!
leaves

A very good read, and very infornative....loved it
DAMP

Another delightful interview!  You drew Marion right out and into my office, where I sit still thrilled by his
words and images, most especially Mars Hill Road Sunset -- a perfect image!
Visart

Wonderful interview Mark and invaluable advice, Marion, for us new to photography.  I was just
thinking it would be fun to have a group of us photographers get together to take photos and share
advice & critiques.
David

Great interview, guys!!
Gigi

To each of you who posted comments, I deeply appreciate it.
Marion Brown

Wonderful interview, Mark! So much information to be shared..I bet I'll go back to that several
times..Thanks for posting it :)
Kim

Wonderfully presented as always Mark...you bring the artist as well as his work to all of us...Marion is
a gifted artist and you a gifted writer...an unbeatable combination.
Joanne
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