The worst thing is to feel that as a photographer I am benefiting from someone else's tragedy. This idea haunts me. It's something I have to reckon with every day because I know that if I ever allow genuine compassion to be overtaken by personal ambition, I will have sold my soul. The only way I can justify my role is to have respect for the other person's predicament. The extent to which I do that is the extent to which I become accepted by the other; and to that extent, I can accept myself.

Photojournalists know the horrors of war can only be exposed at close range. Kodak Film.

I want my pictures to cut through political abstractions... and make a connection on a human level.

The pictures that were coming from Vietnam were showing us what was really happening on the ground level. It was in contradiction to what our political and military leaders were telling us. They were straight forward documentary images. A powerful indictment of the war, of how cruel and unjust it was. When I finally decided what to do with my life, it was to follow in that tradition.

You are never freer than in that moment when you decide to expose yourself to sniper fire.

I became a photographer in order to be a war photographer, and a photographer involved in what I thought were critical social issues. From the very beginning this was my goal.

If there is something occurring that is so bad that it could be considered a crime against humanity, it has to be transmitted with anguish, with pain, and create an impact in people - upset them, shake them up, wake them out of their everyday routine.