If you let some time go by before considering work that you have done, you move toward a more objective position in judging it. The pleasure of the subjective, physical experience in the world is a more distant memory and less influential.

[The photographer's task] is to describe the existing light... Chances are, if you believe the light, you're going to believe that the things photographed existed in the world.

You're suddenly seeing the coherence and the interconnectedness of everything, left to right, top to bottom, front to back. It's all connected, and, somehow, it's all in balance. And that's, of course, when you go, 'Yes!'.

It can happen anytime, anywhere. I mean, you don't have to be in front of stuff that's going to make a good photograph. It's possible anywhere.

In a still photograph you basically have two variables, where you stand and when you press the shutter. That's all you have.

Part of it has to do with the discipline of being actively receptive. At the core of this receptivity is a process that might be called soft eyes. It is a physical sensation. You are not looking for something. You are open, receptive. At some point you are in front of something that you cannot ignore.

I actually try and work before my mind is telling me what to do.