One man thinks before he acts. Another man thinks after he acts. Each is of the opinon that the other thinks too much.

Our very sense of situation is now articulated by the camera's interventions. The omnipresence of cameras persuasively suggests that time consists of interesting events, events worth photographing. This, in turn, makes it easy to feel that any event, once underway, and whatever its moral character, should be allowed to complete itself - so that something else can be brought into the world, the photograph.

Nature in America has always been suspect, on the defensive, cannibalized by progress. In America, every specimen becomes a relic.

Unfortunately, moral beauty in art - like physical beauty in a person - is extremely perishable. It is nowhere so durable as artistic or intellectual beauty. Moral beauty has a tendency to decay very rapidly into sententiousness or untimeliness.

Needing to have reality confirmed and experience enhanced by photographs is an aesthetic consumerism to which everyone is now addicted. Industrial societies turn their citizens into image-junkies; it is the most irresistible form of mental pollution.

When comedy fails, seriousness begins to leak back in.

The traditional metaphor for a spiritual investigation is that of the voyage or the journey. From this image I must dissociate myself. I do not consider myself a voyager, I have preferred to stand still.