When I make a photograph I want it to be an altogether new object, complete and self-contained, whose basic condition is order (unlike the world of events and actions whose permanent condition is change and disorder).
I may be wrong, but the essential illustrative nature of most documentary photography, and the worship of the object per se, in our best nature photography, is not enough to satisfy the man of today, compounded as he is of Christ, Freud, and Marx.
To me documentary photography means making a picture so that the viewer doesn’t think about the man who made the picture. At its esthetic core is very old tradition in art: naturalism.
Photography is a way of feeling, of touching, of loving. What you have caught on film is captured forever… it remembers little things, long after you have forgotten everything.
For some reason or other there was in me the desire to see the world clean and fresh and alive, as primitive things are clean and fresh and alive. The so-called documentary picture left me wanting something.
I was given a small camera as a wedding gift from a very dear friend. My first pictures were taken on my honeymoon. As soon as I became familiar with the camera, I was intrigued with the possibilities of expression it offered. It was like a discovery for me.
However, I must stress that my own interest is immediate and in the picture. What I am conscious of and what I feel is the picture I am making, the relation of that picture to others I have made and, more generally, its relation to others I have experienced.
As photographers, we must learn to relax our beliefs. Move on objects with your eye straight on, to the left, around on the right. Watch them grow large as they approach, group and regroup as you shift your position.
Almost inevitably there are tensions in the picture, tensions between the outside world and the inside world. For me, a successful picture resolves these tensions without eliminating them.
The business of making a photograph may be said in simple terms to consist of three elements: the objective world (whose permanent condition is change and disorder), the sheet of paper on which the picture will be realized, and the experience which brings them together.
