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.

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!'

The thought for us [street photographers] was always: How much could we absorb and embrace of a moment of existence that would disappear in an instant? And, Could we really make it live as art? There was an almost moral dimension.

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.

When you're on the street, and, as you're walking along, a woman turns the corner going away from you, and for an instant you have a glimpse of the side of her face, of the gesture of her shoulder, the shape of her body, and you are committed... You are in love for an instant, or your senses are rocked for an instant. That person then disappears and is lost to you forever.

I think about photographs as being full, or empty. You picture something in a frame and it's got lots of accounting going on in it-stones and buildings and trees and air - but that's not what fills up a frame. You fill up the frame with feelings, energy, discovery, and risk, and leave room enough for someone else to get in there.