The photographer's most important and likewise most difficult task is not learning to manage his camera, or to develop, or to print. It is learning to see photographically — that is, learning to see his subject matter in terms of the capacities of his tools and processes, so that he can instantaneously translate the elements and values in a scene before him into the photograph he wants to make.

Why limit yourself to what your eyes see when you have an opportunity to extend your vision?

Anything more than 500 yards from the car just isn't photogenic.

In common with other artists the photographer wants his finished print to convey to others his own response to his subject. In the fulfillment of this aim, his greatest asset is the directness of the process he employs. But this advantage can only be retained if he simplifies his equipment and technic to the minimum necessary, and keeps his approach from from all formula, art-dogma, rules and taboos. Only then can he be free to put his photographic sight to use in discovering and revealing the nature of the world he lives in.

I see my finished platinum print (in the viewfinder) in all its desired qualities, before my exposure.

Is love like art - something always ahead, never quite attained.

It's hard not to tell the truth with a camera. Artists are particularly good at that.