You know you are seeing such a photograph if you say to yourself, "I could have taken that picture. I've seen such a scene before, but never like that." It is the kind of photography that relies for its strengths not on special equipment or effects but on the intensity of the photographer's seeing. It is the kind of photography in which the raw materials--light, space, and shape--are arranged in a meaningful and even universal way that gives grace to ordinary objects.
My first priority when taking pictures is to achieve clarity. A good documentary photograph transmits the information of the situation with the utmost fidelity; achieving it means understanding the nuances of lighting and composition, and also remembering to keep the lenses clean and the cameras steady.
And that desire--the strong desire to take pictures--is important. It borders on a need, based on a habit: the habit of seeing. Whether working or not, photographers are looking, seeing, and thinking about what they see, a habit that is both a pleasure and a problem, for we seldom capture in a single photograph the full expression of what we see and feel. It is the hope that we might express ourselves fully--and the evidence that other photographers have done so--that keep us taking pictures.
In my work, the most elaborate--and essential--accessory is a standard tripod. For spiritual companions I have had the many artists who have relied on nature to help shape their imagination. And their most elaborate equipment was a deep reverence for the world through which they passed. Photographers share something with these artists. We seek only to see and to describe with our own voices, and, though we are seldom heard as soloists, we cannot photograph the world in any other way.
...actually, ambition won't get you that far. You'll shift gears. You'll see something that's shinier. But if you believe... then you're the long-distance runner.
There was photography, but there was also the photographic life. I couldn’t imagine one without the other and wanted both.
One of the things that I most believe in is the compose and wait philosophy of photography. It’s a very satisfying, almost spiritual way to photograph. Life isn’t’ knocking you around, life isn’t controlling you. You have picked your place, you’ve picked your scene, you’ve picked your light, you’ve done all the decision making and you are waiting for the moment to come to you...
There isn’t an aspect of book creation I don’t enjoy, and there has always been a book in my life to dream about or work on.
In almost every photograph I have ever made, there is something I would do to complete it. I take that to be the spirit hole or the deliberate mistake that’s in a Navajo rug to not be godlike, but to be human.
Above all, it's hard learning to live with vivid mental images of scenes I cared for and failed to photograph. It is the edgy existence within me of these unmade images that is the only assurance that the best photographs are yet to be made.
But there is more to a fine photograph than information. We are also seeking to present an image that arouses the curiosity of the viewer or that, best of all, provokes the viewer to think--to ask a question or simply to gaze in thoughtful wonder. We know that photographs inform people. We also know that photographs move people. The photograph that does both is the one we want to see and make. It is the kind of picture that makes you want to pick up your own camera again and go to work.
As I have practiced it, photography produces pleasure by simplicity, I see something special and show it to the camera. A picture is produced. The moment is held until someone sees it. Then it is theirs. Photography, alone of the arts, seems perfected to serve the desire humans have for a moment -- this very moment -- to stay.
The neatest part of this book I'm working on--to me--are the pictures that show the process... Because photographers... think things through and... it isn't luck, and it isn't random and it isn't accidental. It isn't.
...just like some people's instinct to photograph is triggered by vacation... assignments might be that to me and that's why I've built my life around assignments. That was the way to live the photographic life.
I have photographed subjects where I had something to say and the difference is... it matters the most. It's a critical and very consequential difference. If you don't have anything to say then you'll force photographs. But if it's something that you know, love and feel and have lived; and it's a subject that you want to hold high— for some reason; for your reason— then the photography will not be forced. It will flow forward from you in every important way.
I think of myself as a writer who photographs. Images, for me, can be considered poems, short stories or essays. And I’ve always thought the best place for my photographs was inside books of my own creation.
Life rarely presents fully finished photographs. An image evolves, often from a single strand of visual interest – a distant horizon, a moment of light, a held expression.