When a photographer masters the tools and processes of the art, then the quality of the work is only limited by his creative vision.

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.

I want the stark beauty that a lens can so exactly render presented without interference of artistic effect.

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

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.

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

Good composition is merely the strongest way of seeing.