That's who comes to my workshops. I jokingly tell my students that the class could be called "Your photographs: Better."

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.

Exotic novelty. My statement to [people] is always, well, set this picture in your home town, is it still an interesting picture? Or is it just exotic? Would I care about this same picture minus its exoticism?

As I have practiced it, photography produces pleasure by simplicity. I see something special and show it to the camera. A picture is produced. The moment is held until someone sees it. Then it is theirs.

Increasingly, it's people not interested in National Geographic.

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.

"You know you are seeing such a photograph if you say to yourself, "I could have taken that picture. I've seen such a scene before, but never like that." It is the kind of photography that relies for its strengths not on special equipment or effects but on the intensity of the photographer's seeing. It is the kind of photography in which the raw materials-light, space, and shape-are arranged in a meaningful and even universal way that gives grace to ordinary objects."