In the end, maybe the correct language would be how the fact of putting four edges around a collection of information or facts transforms it. A photograph is not what was photographed, it's something else.

There've been times it's been just impossible to find a negative or whatever. But I'm basically just a one man operation, and so things get messed up. I don't have a filing system that's worth very much.

The primary problem is to learn to be your own toughest critic. You have to pay attention to intelligent work, and to work at the same time. You see. I mean, you’ve got to bounce off better work. It’s matter of working.

You use the vertical edge as the point of reference, instead of the horizontal edge. I have a picture of a beggar, where there's an arm coming into the frame from the side. And the arm is parallel to the horizontal edge and it makes it work. It's all games, you know. But it keeps it interesting to do, to play.

You have a lifetime to learn technique. But I can teach you what is more important than technique, how to see; learn that and all you have to do afterwards is press the shutter.

The only thing that's difficult is reloading when things are happening. Can you get it done fast enough?

In terms of content, you can make a problem for yourself, I mean, make the contest difficult, let's say, with certain subject matter that is inherently dramatic.