“We know by now how to photograph poor people. What we don’t know is how to photograph affluence – whose other face is poverty.”

This benefit of seeing…can come only if you pause a while, extricate yourself from the maddening mob of quick impressions ceaselessly battering our lives, and look thoughtfully at a quiet image…the viewer must be willing to pause, to look again, to meditate.

To live a visual life is an enormous undertaking, practically unattainable. I have only touched it, just touched it.

You put your camera around your neck along with putting on your shoes, and there it is, an appendage of the body that shares your life with you.

One should really use the camera as though tomorrow you’d be stricken blind.

A documentary photograph is not a factual photograph.

Sometimes in a hostile situation you stick around because hostility itself is important.

It is not enough to photograph the obviously picturesque.

The best way to go into an unknown territory is to go in ignorant, ignorant as possible, with your mind wide open, as wide open as possible and not having to meet anyone else’s requirement but your own.

I believe that what we call beautiful is generally a by-product.

Photography is a lot like telling a large predatory cat what to do-while an audience of people you can’t see watches you.

No country has ever closely scrutinized itself visually.

It is no accident that the photographer becomes a photographer any more than the lion tamer becomes a lion tamer.

Bring the viewer to your side, include him in your thought. He is not a bystander.

To me, beauty appears when one feels deeply, and art is an act of total attention.

Photography today appears to be in a state of flight… The familiar is made strange, the unfamiliar grotesque. The amateur forces his Sundays into a series of unnatural poses.

Pick a theme and work it to exhaustion… the subject must be something you truly love or truly hate.