“We are not interested in the unusual, but in the usual seen unusually.”

Documentary is, therefore, an approach, which makes use of the artistic faculties to give vivification to fact – to use Walt Whitman’s definition of the place of poetry in the modern world.

Wherever there is disaster, the newsman is there. If he cannot find disaster, he searches for the odd and the peculiar, the exotic and the unfamiliar.

Over the years, photography has been to me what a journal is to a writer – a record of things seen and experienced, moments in the flow of time, documents of significance to me, experiments in seeing.

The greatest challenge to the photographer is to express the inner significance through the outward form.

The direct use of the camera for what it can do best, and that is the revelation, interpretation, and discovery of the world of man and of nature.

The leavening of aesthetic approaches continues. While it is too soon to define the characteristic of the photographic style today, one common denominator, rooted in tradition, seems in the ascendancy.

The present challenge to the photographer is to express inner significance through outward form.

More and more are turning to photography as a medium of expression as well as communication.

It has been important to me, as an historian of photography, to understand photography by photographing.

If the historian will be faithful to the photograph, the photograph will be faithful to history.

His photographs, seen by millions, make momentary events and strange occurrences all over the world our common property.

The fundamental belief in the authenticity of photographs explains why photographs of people no longer living and of vanished architecture are so melancholy.