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.

I start with no preconceived idea - discovery excites me to focus - then rediscovery through the lens - final form of presentation seen on ground glass, the finished print previsioned completely in every detail of texture, movement, proportion, before exposure - the shutter's release automatically and finally fixes my conception, allowing no after manipulation - the ultimate end, the print, is but a duplication of all that I saw and felt through my camera.

No photographer is better than the simplest of cameras

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

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.

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

There is nothing like a Bach fugue to remove me from a discordant moment... only Bach hold up fresh and strong after repeated playing. I can always return to Bach when the other records weary me.