We tried to present the ordinary in an extraordinary manner. But that’s the paradox because the only thing extraordinary about it was that it was so ordinary. Nobody had ever done it before, deliberately. Now it’s called documentary, which I suppose is all right ... We just took pictures that cried out to be taken.
I said, “Walker [Evans], remember your promise to show me how to photograph?” He says, “Well, it’s very easy, Ben. F9 on the sunny side of the street, F4.5 on the shady side of the street. For a twentieth of a second hold your camera steady,” and that was all. This was the only lesson I ever had.
The artist must operate on the assumption that the public consists in the highest order of individual; that he is civilized, cultured, and highly sensitive both to emotional and intellectual contexts. And while the whole public most certainly does not consist in that sort of individual, still the tendency of art is to create such a public—to lift the level of perceptivity, to increase and enrich the average individual’s store of values... I believe that it is in a certain devotion to concepts of truth that we discover values.
Of course I realize that photography is not the technical facility as much as it is the eye, and this decision that one makes for the moment at which you are going to snap, you know.