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.

The camera sees more than the eye, so why not make use of it?

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

Anything that excites me for any reason, I will photograph; not searching for unusual subject matter, but making the commonplace unusual.

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

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 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.