To Photograph Reality Is To Photograph Nothing.

Flowers Construct The Most Charming Geometries: Circles Like The Sun, Ovals, Cones, Curlicues And A Variety Of Triangular Eccentricities, Which When Viewed With The Eye Of A Magnifying Glass Seem A Lilliputian Frieze Of Psychedelic Silhouettes.

If You Look At A Photograph, And You Think, 'my Isn't That A Beautiful Photograph,' And You Go On To The Next One, Or 'isn't That Nice Light?' So What? I Mean What Does It Do To You Or What's The Real Value In The Long Run? What Do You Walk Away From It With? I Mean, I'd Much Rather Show You A Photograph That Makes Demands On You, That You Might Become Involved In On Your Own Terms Or Be Perplexed By.

Photography Is Essentially An Act Of Recognition By Street Photographers, Not An Act Of Invention. Photographers Might Respond To An Old Man’s Face, Or An Arbus Freak, Or The Way Light Hits A Building—and Then They Move On. Whereas In All The Other Art Forms, Take William Blake, Everything That Came To That Paper Never Existed Before. It’s The Idea Of Alchemy, Of Making Something From Nothing.

I Think Photographs Should Be Provocative And Not Tell You What You Already Know. It Takes No Great Powers Or Magic To Reproduce Somebody's Face In A Photograph. The Magic Is In Seeing People In New Ways.

A Photograph Of A Woman Crying Tells Me Nothing About Grief. Or A Photograph Of A Woman Ecstatic Tells Me Nothing About Ecstasy. What Is The Nature Of These Emotions? The Problem With Photography Is That It Only Deals With Appearances.