It therefore should be possible for even the photographer - just as for the creative poet or painter - to use the object as a stepping stone to a realm of meaning completely beyond itself.
I attempt, through much of my work, to animate all things—even so-called “inanimate” objects--with the spirit of man. I have come, by degrees, to realize that this extremely animistic projection rises, ultimately, from my profound fear and disquiet over the accelerating mechanization of man’s life; and the resulting attempts to stamp out individuality in all spheres of man’s activity--this whole process being one of the dominant expressions of our military-industrial society. The creative photographer sets free the human contents of objects; and imparts humanity to the inhuman world around him.
Everything that I see must become personal; otherwise, it is dead and mechanical. Our only chance to escape the blight of mechanization, of acting and thinking alike, of the huge machine which society is becoming, is to restore life to all things through the saving and beneficent power of the human imagination.
In our society, most of us wear protective masks of various kinds and for various reasons. Very often the end result is that the masks grow to us, displacing our original characters with our assumed characters.
There is nothing, under present conditions, that can be more easily and exactly reproduced than a technically good black-and-white photograph, and it is utter rot to burden those interested in them with irrelevant biographical trivia and pet longwinded theory.