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

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.

I don't care if you make a print on a bath mat, just as long as it is a good print.

The fact is that relatively few photographers ever master their medium. Instead they allow the medium to master them and go on an endless squirrel cage chase from new lens to new paper to new developer to new gadget, never staying with one piece of equipment long enough to learn its full capacities, becoming lost in a maze of technical information that is of little or no use since they don't know what to do with it.

A photograph has no value unless it looks exactly like a photograph and nothing else.

Ultimately success or failure in photographing people depends on the photographer's ability to understand his fellow man.

To compose a subject well means no more than to see and present it in the strongest manner possible.