Documentary is a little like horror movies, putting a face on fear and transforming threat into fantasy, into imagery. One can handle imagery by leaving it behind. (It is them, not us.)

So much of my work involved the Vietnam War that it would have been obscene to show it in a gallery. But now, it’s different; it’s important to remember and to enable the young to discover what to some of us is still so present.

How useful are documentary photographs if there is no follow up, no way of knowing what happened next in the story?

Are we asserting the easy dominion of our civilization over all times and all places, as signs that we casually absorb as a form of loot?

Any familiarity with photographic history shows that manipulation is integral to photography.

I was concerned with something like the notion of 'language speaking the subject,' and with the transformation of the woman herself into a sign in a system of signs that represent a system of food production, a system of harnessed subjectivity.

Documentary is a little like horror movies, putting a face on fear and transforming threat into fantasy, into imagery. One can handle imagery by leaving it behind. (It is them, not us.)