It comes down to risk, again and again. If you risk coming out, if you risk making pictures that aren’t good, you might discover something in a photograph that is the key. The very doorway to your own interest.

It comes down to risk, again and again. If you risk coming out, if you risk making pictures that aren’t good, you might discover something in a photograph that is the key. The very doorway to your own interest.

Attempts by some teachers to adjust school curricula to incorporate programs that children watch on television suggest a new means of 'leading' children by running after them as quickly as possible.

A lot of what I am looking for is a moment of astonishment, he says. Those moments of pure consciousness when you involuntarily inhale and say 'Wow!'

You fill up the frame with feelings, energy, discovery, and risk, and leave room enough for someone else to get in there.

'Tough' meant it was an uncompromising image, something that came from your gut, out of instinct, raw, of the moment, something that couldn't be described in any other way. So it was tough. Tough to like, tough to see, tough to make, tough to understand. The tougher they were the more beautiful they became.

They [photographs] teach you about your own unraveling past, or about the immediacy of yesterday. They show you what you look at. If you take a photograph, you've been responsive to something, and you looked hard at it. Hard for a thousandth of a second, hard for ten minutes. But hard, nonetheless. And it's the quality of that bite that teaches you how connected you were to that thing, and where you stood in relation to it, then and now.