The drama of light exists not only in what is in the light, but also in what is left dark. If the light is everywhere, the drama is gone.

The awareness of the quality of space in out photos is akin to our awareness of the very air in our photos, the atmosphere that pervades every square inch of our image and yet is often invisible to the photographer.

You find that you have to do many things, more than just lift up the camera and shoot, and so you get involved in it in a very physical way. You may find that the picture you want to do can only be made from a certain place, and you're not there, so you have to physically go there. And that participation may spur you on to work harder on the thing, . . . because in the physical change of position you start seeing a whole different relationship.

You must not think of yourself as looking at the stage from the audience. You must think of it as theatre in the round and look at it from all sides.

You have to pick the right tool for the point you're trying to make and there is no one solution.

There is no bad light. There is spectacular light and difficult light. It's up to you to use the light you have.

As people, we love pattern. But interrupted pattern is more interesting.