The artist's world is limitless. It can be found anywhere, far from where he lives or a few feet away. It is always on his doorstep.

The documentary photographer aims his camera at the real world to record truthfulness. At the same time, he must strive for form, to devise effective ways of organizing and using the material. For content and form are interrelated. The problems presented by content and form must be so developed that the result is fundimentally [sic] true to the realities of life as we know it. The chief problem is to find a form that adequately represents the reality.

Your photography is a record of your living - for anyone who really sees. You may see and be affected by other people's ways, you may even use them to find your own, but you will have eventually to free yourself of them. That is what Nietzche meant when he said, 'I have just read Schopenhauer, now I have to get rid of him.' He knew how insidious other people's ways could be, particularly those which have the forcefulness of profound experience, if you let them get between you and your own personal vision.

Photography... is either an expression of a cosmic vision, an embodiment of a life movement or it is nothing - to me. (1919)

I've always wanted to be aware of what's going on around me, and I've wanted to use photography as an instrument of research into and reporting on the life of my own time.

If you let other people's vision get between the world and your own, you will achieve that extremely common and worthless thing, a pictorial photograph.

Look at the things around you, the immediate world around you. If you are alive, it will mean something to you, and if you care enough about photography, and if you know how to use it, you will want to photograph that meaningness. If you let other people's vision get between the world and your own, you will achieve that extremely common and worthless thing, a pictorial photograph.