Many photographers are apt to confuse color with noise, and to congratulate themselves when they have almost blown you down with screeching hues alone-a bebop of electric blues, furious reds, and poison greens.

What I believe is really good in the so-called documentary approach to photography is the addition of lyricism.[this quality] is usually produced unconsciously and even unintentionally and accidentally by the cameraman.

I used to try to figure out precisely what I was seeing all the time, until I discovered that I didn't need to. If the thing is true, why there it is.

I think there is a period of esthetic discovery that happens to a man and he can do all sorts of things at white heat.

Leaving aside the mysteries and the inequities of human talent, brains, taste, and reputations, the matter of art in photography may come down to this: it is the capture and projection of the delights of seeing; it is the defining of observation full and felt.

Privilege, if you're very strict, is an immoral and unjust thing to have, but if you've got it you didn't choose to get it and you might as well use it. You're privileged to be at Yale, but you know you're under an obligation to repay what's been put into you.

The eye traffics in feelings, not in thoughts.