It is part of the photographer's job to see more intensely than most people do. He must have and keep in him something of the receptiveness of the child who looks at the world for the first time or of the traveler who enters a strange country.

The good photographer will produce a competent picture every time whatever his subject. But only when his subject makes and immediate and direct appeal to his own interests will he produce a work of distinction.

I consider it essential that the photographer should do his own printing and enlarging. The final effect of the finished print depends so much on these operations.

Andre Breton once said that a portrait should not only be an image but an oracle one questions, and that the photographer's aim should be a profound likeness, which physically and morally predicts the subject's entire future.

But I did not always know just what it was I wanted to photograph. I believe it is important for a photographer to discover this, for unless he finds what it is that excites him, what it is that calls forth at once an emotional response, he is unlikely to achieve his best work.

And only the photographer himself knows the effect he wants. He should know by instinct, grounded in experience, what subjects are enhanced by hard or soft, light or dark treatment.

When I began to photograph nudes, I let myself be guided by this camera, and instead of photographing what I saw, I photographed what the camera was seeing. I interfered very little, and the lens produced anatomical images and shapes which my eyes had never observed.