It is no longer a matter of expressing reality, but of expressing what one feels about reality.

As photographers, we must learn to relax our beliefs. Move on objects with your eye straight on, to the left, around on the right. Watch them grow large as they approach, group and regroup as you shift your position. Relationships gradually emerge and sometimes assert themselves with finality. And that's your picture.

In any art, you don't know in advance what you want to say - it's revealed to you as you say it. That's the difference between art and illustration.

What is the subject matter of this apparently very personal world? It has been suggested that these shapes and images are underworld characters, the inhabitants of the vast common realm of memories that have gone down below the level of conscious control. It may be they are. The degree of emotional involvement and the amount of free association with the material being photographed would point in that direction.

For some reason or other there was in me the desire to see the world clean and fresh and alive, as primitive things are clean and fresh and alive. The so-called documentary picture left me wanting something.

To me documentary photography means making a picture so that the viewer doesn’t think about the man who made the picture. At its esthetic core is very old tradition in art: naturalism. And its purpose is to document all facets of social relationships.

If you look very intensely and slowly things will happen that you never dreamed of before.