As the language or vocabulary of photography has been extended, the emphasis of meaning has shifted, shifted from what the world looks like to what we feel about the world and what we want the world to mean.

Producing a photographic document involves preparation in excess. There is first the examination of the idea of the project. Then the visits to the scene, the casual conversations, and more formal interviews - talking, and listening, and looking, looking. ... And finally, the pictures themselves, each one planned, talked, taken and examined in terms of the whole.

Almost inevitably there are tensions in the picture, tensions between the outside world and the inside world. For me, a successful picture resolves these tensions without eliminating them.

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.

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

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.

I was given a small camera as a wedding gift from a very dear friend. My first pictures were taken on my honeymoon. As soon as I became familiar with the camera, I was intrigued with the possibilities of expression it offered. It was like a discovery for me.