My argument against the set-up picture is that it leaves the matter of content to the imagination of the photographer, a faculty that, in my experience, is generally deficient compared to the mad swirling possibilities that our dear common world kicks up at us on a regular basis.

By being fictions and, at the same moment, returning their subjects to us with a compelling fidelity, both photographs and poems work with the same surprise... both strike us as if they were simultaneously remembrances and revelations.

I profoundly believe in - and teach - the proposition that photography is inherently a fiction-making process. Don't speak to me of the document; I don't really believe in it, particularly now. A picture's not the world, but a new thing.

Cameras are like dogs, but dumb, and toward quarry, even more faithful. They point, they render, and defy the photographer who hopes.

I believe that the (distorting) mirror which is photography holds an intrinsic, even elemental, relation to writing.

[The photograph] is fabricated out of the unfabricated dross of passing life (while paradoxically still trading on the indexical heft of that dross).

My argument against the set-up picture is that it leaves the matter of content to the imagination of the photographer, a faculty that, in my experience, is generally deficient compared to the mad swirling possibilities that our dear common world kicks up at us on a regular basis.