I did it once, and National Geographic recruited me. I did it primarily out of curiosity. A lot of legendary photographers had worked on that campaign. Ernst Haas had done the early photography, and I knew him. There's a lore in photography about that campaign, and I was curious.

Essentially what photography is is life lit up.

Yes, there are billions more photographers, and billions more photographs every day, but who's building up a point of view? Who's photographing with intention, and whose body of work will sustain itself and survive?

The thing with my workshops is, photography is a thoughtful process. In an atmosphere of fast photography, and generally thoughtless, quick, automatic photography, I think that there is an interest in the slowed down, thoughtful approach.

One of the things that I most believe in is the compose and wait philosophy of photography. It’s a very satisfying, almost spiritual way to photograph. Life isn't’ knocking you around, life isn't controlling you. You have picked your place, you’ve picked your scene, you’ve picked your light, you’ve done all the decision making and you are waiting for the moment to come to you.

This might seem off the track, but an interesting thing to me that others could talk about better than I, but one of the growth areas in photographic education has been the so-called slow photography.

It matters little how much equipment we use; it matters much that we be masters of all we do use.