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.

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 don't care if you make a print on a bath mat, just as long as it is a good print.

The prejudice many photographers have against colour photography comes from not thinking of colour as form. You can say things with colour that can't be said in black and white... Those who say that colour will eventually replace black and white are talking nonsense. The two do not compete with each other. They are different means to different ends.

I see no reason for recording the obvious.

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.

I find myself every so often looking at my ground glass as though the unrecorded image might escape me!