It is the gift of seeing the life around them clearly and vividly, as something that is exciting in its own right. It is an innate gift, varying in intensity with the individual's temperament and environment.

If there is any method in the way I take pictures, I believe it lies in this: See the subject first. Do not try to force it to be a picture of this, that or the other thing. Stand apart from it. Then something will happen. The subject will reveal itself.

The vital elements are often momentary, change-sent things ... a gleam of light on water, a trail of smoke from a passing train, a cat crossing the threshold. Sometimes they are a matter of luck, sometimes of patience, waiting for an effect to be repeated that you have seen. It is usually some incidental detail that heightens the effect of a picture, stressing a pattern, deepening the sense of atmosphere.

It is essential for the photographer to know the effect of his lenses. The lens is his eye, and it makes or ruins his pictures. A feeling for composition is a great asset. I think it is very much a matter of instinct. It can perhaps be developed, but I doubt if it can be learned. To achieve his best work, the young photographer must discover what really excites him visually. He must discover his own world.

In my portraits I try to avoid the fleeting expression and vivacity of a snapshot.

I am not very interested in extraordinary angles. They can be effective on certain occasions, but I do not feel the necessity for them in my own work. Indeed, I feel the simplest approach can often be most effective. A subject placed squarely in the center of the frame, if attention is not distracted from it by fussy surroundings, has a simple dignity which makes it all the more impressive.

It is the gift of seeing the life around them clearly and vividly, as something that is exciting in its own right. It is an innate gift, varying in intensity with the individual's temperament and environment.