The decisive moment, the popular Henri Cartier-Bresson approach to photography in which a scene is stopped and depicted at a certain point of high visual drama, is now possible to achieve at any time. One's photographs, years later, may be retroactively rephotographed by repositioning the photographer or the subject of the photograph, or by adding elements that were never there before but now are made to exist concurrently in a newly elastic sense of space and time.

One cannot always summarize massive issues by looking at the life of one person or one family, or even one community.

The slideshow "is a very primitive form that quickly becomes predictable and repetitive."

We have to tell people how images are made. And, the first step is to abandon the idea we're looking at photographs. We're looking at entry points to information and to the world in which the image was made.

What does a professional photojournalist do that others cannot? Depicting photo opportunities as if they are authentic, covering press conferences, or making subjects play their assigned roles (the poor as passive victims, celebrities as glamorous) are hardly adequate responses. In fact, these might be reasons to ask for the help of amateurs who do not know how to stylize their imagery and are not interested in making a publication seem more palatable to its potential consumers.

I hope that many visual journalists will be hired or funded along the way as well - we urgently need their perspectives.

We have a long history of snapshot photography that appeared to many to be more arbitrary and idiosyncratic than much of the work of professionals. We valued it for what it could tell us about the details of people's daily lives.