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.

My true program is summed up in one word: life. I expect to photograph anything suggested by that word which appeals to me.

My own eyes are no more than scouts on a preliminary search, or the camera's eye may entirely change my idea.

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

To see the Thing itself is essential: the quintessence revealed direct without the fog of impressionism... This then: to photograph a rock, have it look like a rock, but be more than a rock. Significant presentation - not interpretation.

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.

My work is never intellectual. I never make a negative unless emotionally moved by my subject.