There are very few instances where writers have also been effective image makers - different skill sets are required.

The inherent non-linearity of the digital allows for more input from others, including the subject and reader as collaborators. The top-down, bedtime-style story is of limited use. A non-linear narrative that allows for increased complexity and depth, and encourages both subject and reader to have greater involvement, will eventually emerge more fully from the digital environment. This, in a sense, is the more profound democratization of media.

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.

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

Word, image, and sound all must have primacy in the development of the narrative.

The photograph that discovers and uncovers the world is harder to simulate than an image that simply illustrates one's ideas about it.

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.