Everything was Bauhaus this and Bauhaus that. I wanted to break it... I got tired of experimentation. I got sick of the solarization and reticulation and walked-on negatives. What I was interested in was the technique of seeing... I introduced problems like “evidence of man,” and talking to people—making portraits on the street... I thought [the students] should enter into dealings with human beings and leave abstract photography. I felt that social photography would be the next concern.