Very often people looking at my pictures say, 'You must have had to wait a long time to get that cloud just right (or that shadow, or the light).' As a matter of fact, I almost never wait, that is, unless I can see that the thing will be right in a few minutes. But if I must wait an hour for the shadow to move, or the light to change, or the cow to graze in the other direction, then I put up my camera and go on, knowing that I am likely to find three subjects just as good in the same hour.

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

The camera sees more than the eye, so why not make use of it?

The creative force in man recognizes and records these rhythms with the medium most suitable to him, the object, or the moment, feeling the cause, the life within the outer form. Recording unfelt facts, acquired by rule, results in sterile inventory. To see the Thing Itself is essential: the quintessence revealed direct without the fog of impressionism - the casual noting of the superficial phase, a transitory mood.

Clouds, torsos, shells, peppers, trees, rocks, smoke stacks, are but interdependent, interrelated parts of a whole, which is life.

I find myself every so often looking at my ground glass as though the unrecorded image might escape me!

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