To engage a sequence, we keep in mind the photographs on either side of the one in our eye.

If I have anything to give you through camera, it must be of myself. … A gnawing burns inside … to make something of myself worth giving.

The reason why we want to remember an image varies: because we simply 'love it,' or dislike it so intensely that it becomes compulsive, or because it has made us realize something about ourselves, or has brought about some slight change in us. Perhaps the reader can recall some image, after the seeing of which he has never been quite the same.

It is curious that I always want to group things, a series of sonnets, a series of photographs; whatever rationalizations appear, they originate in urges that are rarely satisfied with single images.

Before he has seen the whole, how unusually perceptive and imaginative the person must be to evolve the entire sequence by meditating on its single, pair or triplet of essential images.

In putting images together I become active, and excitement is of another order - synthesis overshadows analysis.

Different levels of photography require different levels of understanding and skill. A "press the button, let George do the rest" photographer needs little or no technical knowledge of photography. A zone system photographer takes more responsibility. He visualizes before he presses the button, and afterwards calibrates for predictable print values.