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

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

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

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.

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

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

The photographer's most important and likewise most difficult task is not learning to manage his camera, or to develop, or to print. It is learning to see photographically — that is, learning to see his subject matter in terms of the capacities of his tools and processes, so that he can instantaneously translate the elements and values in a scene before him into the photograph he wants to make.