It is the photographer's decision at the two levels of seeing the picture - when it is shot and when it is chosen and printed that determines his personal style.

The public is being spoiled by good technical quality photographs in magazines, on television, in the movies, and they have become bored. The disease of our age is this boredom and a good photographer must successfully combat it. The only way to do this is by invention - by surprise.

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.

It is the end result that counts.

It is the unexpected and the surprise quality of a personal vision, rather than the emotion, which make people respond to a photograph.

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.

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.