'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.

'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.

I photographed the entire thing in color because to photograph it in black and white would be to keep it as a tragedy. Because there is a tragic element to photographing, in this case not war, but the collapse. It was just destruction.

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

I want to enjoy the languor of just living, recognizing, acknowledging, taking it in, sort of amplifying it in some way. [Photography] is a great medium for that. It happens in an instant, but it gives you hours or days of time to reflect on things. It’s a beautiful system, this game of photography, to see in an instant and go back and think about later on. It’s pure philosophy. And poetry.

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.

I find it strangely beautiful that the camera with its inherent clarity of object and detail can produce images that in spite of themselves offer possibilities to be more than they are a photograph of nothing very important at all, nothing but an intuition, a response, a twitch from the photographer’s experience.