I would say to any artist: Don't be repressed in your work, dare to experiment, consider any urge, if in a new direction all the better.

Since the recording process is instantaneous, and the nature of the image such that it cannot survive corrective handwork, it is obvious that the finished print must be created in full before the film is exposed.

Now one does not think during creative work: any more than one thinks when driving a car. One has a background of years — learning — unlearning— success — failure — dreaming — thinking — experience — back it goes — farther back than one's ancestors: all this, — then the moment of creation, the focussing of all into the moment. So I can make — "without thought" — fifteen carefully-considered negatives one every fifteen minutes, — given material with as many possibilities.

There is nothing like a Bach fugue to remove me from a discordant moment... only Bach hold up fresh and strong after repeated playing. I can always return to Bach when the other records weary me.

People who wouldn't think of taking a sieve to the well to draw water fail to see the folly in taking a camera to make a painting.

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

When subject matter is forced to fit into preconceived patterns, there can be no freshness of vision. Following rules of composition can only lead to a tedious repetition of pictorial cliches.