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.

The photographer projects himself into everything he sees, identifying himself with everything in order to know it and to feel it better.

When I look at pictures I have made, I have forgotten what I saw in front of the camera and respond only to what I am seeing in the photographs.

There's no particular class of photograph that I think is any better than any other class. I'm always and forever looking for the image that has spirit! I don't give a damn how it got made.

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.

I'm always mentally photographing everything as practice.

No matter how slow the film, Spirit always stands still long enough for the photographer It has chosen.