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.

I do note that photography, a despised medium to work in, is full of empty phonies and worthless commercial people. That presents quite a challenge to the man who can take delight in being in a very difficult, disdained medium.

Science has discovered much. The engineering is wonderful, epicycles and all. And yet, as we look at this vast, elaborate structure built on layer and layer of complex constituents, can we help but be reminded of the Land of Oz. Have we found the Emerald City? Is this what we were searching for? Is this the ultimate fabric of reality? Is this all there is?

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.

With the camera, it's all or nothing. You either get what you're after at once, or what you do has to be worthless. I don't think the essence of photography has the hand in it so much. The essence is done very quietly with a flash of the mind, and with a machine. I think too that photography is editing, editing after the taking. After knowing what to take, you have to do the editing.

I say half jokingly that photography is the most difficult of the arts. It does require a certain arrogance to see and to choose. I feel myself walking on a tightrope instead of on the ground.

When you say documentary, you have to have a sophisticated ear to receive that word. It should be documentary style, because documentary is police photography of a scene and a murder ... that's a real document. You see, art is really useless, and a document has use. And therefore, art is never a document, but it can adopt that style. I do it. I'm called a documentary photographer. But that presupposes a quite subtle knowledge of this distinction.