It is the end result that counts.

The personality and style of a photographer usually limits the type of subject with which he deals best. For example Cartier-Bresson is very interested in people and in travel; these things plus his precise feeling for geometrical relationships determine the type of pictures he takes best. What is of value is that a particular photographer sees the subject differently. A good picture must be a completely individual expression which intrigues the viewer and forces him to think.

When I say that a good picture has surprise quality or shock appeal, I do not mean that it is a loud or vulgar picture but, instead, that it stimulates my thinking and intrigues me.

The photograph is not only a pictorial report; it is also a psychological report. It represents the feelings and point of view of the intelligence behind the camera.

Outstanding past work in photography, and in fact in all the arts, is very important to today's photographers. But it should be used for inspiration and not for imitation. These works should be something to be built upon, not to be repeated.

Photographers should make three or four prints from one negative and then crop them differently. When I was art director at Harper's Bazaar and at several agencies as a consultant, young photographers would bring me their portfolios and all the prints would be in the same standard proportions, either for the Leica or the Rolleiflex. Many times, by limiting themselves in this way, they missed the true potentialities of their photographs.

What is of value is that a particular photographer sees the subject differently than I do. A good picture must be a completely individual expression which intrigues the viewer and forces him to think.