......so called “composition” becomes a personal thing, to be developed along with technique, as a personal way of seeing.

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

The photograph isolates and perpetuates a moment of time: an important and revealing moment, or an unimportant and meaningless one, depending upon the photographer's understanding of his subject and mastery of his process.

As great a picture can be made as one's mental capacity-no greater. Art cannot be taught; it must be self-inspiration, though the imagination may be fired and the ambition and work directed by the advice and example of others.

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

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.

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.