To me, photography is like a quest, or a pilgrimage, or a hunt. I love painting, I love music, but photography is what has allowed me to get outside of myself.
... photography is just a medium. It's like a typewriter. Photography as an art doesn't interest me an awful lot; as a participant, though I like to look at it.
The thing with my workshops is, photography is a thoughtful process. In an atmosphere of fast photography, and generally thoughtless, quick, automatic photography, I think that there is an interest in the slowed down, thoughtful approach.
Filmmaking became a possible way for me to combine my interest in photography and in gathering stories, as well as my interest in journalism and political science and international relations.
I use zero photography. I have a photographic memory and a complete knowledge of anatomy and physiology, and an interest in grasping the moment of what is happening, not just the outside, but the inside out.
All aspects of photography interest me and I feel for the female body the same curiosity and the same love as for a landscape, a face or anything else which interests me. In any case, the nude is a form of landscape. There are no reasons for my photographs, nor any rules; all depends on the mood of the moment, on the mood of the model.
The enemy of photography is the convention, the fixed rules of 'how to do'. The salvation of photography comes from the experiment.
I don't know that there were any rules for documentary photography. As a matter of fact, I don't think the term was even very precise. So as far as I'm concerned, the kind of photography I did in the FSA was the kind of photography I still do today, because it is based on passionate concern for the human condition. That is the basis of all the work that I do.
I will not allow people to impose rules on me that don't make sense to me. And I live and work very much outside the literary world and the literary system. What they think and what they believe and what their rules are mean nothing to me.
I think that it's workshops, honestly, that have kept me keen about photography, and about my photography. My career as a workshop photographer came while I was at the Geographic in the late 70's, and has continued consistently since then.
Black-and-white photography, which I was doing in the very early days, was essentially called art photography and usually consisted of landscapes by people like Ansel Adams and Edward Weston. But photographs by people like Adams didn't interest me.
I came up in photography, and Dust Bowl-era photography is a lot of the reason that I got behind the camera in the first place.
The photography is not the aim of the work; the articulation of the work through photography is another way of understanding what's going on and what's happening outside.
For me there are no rules. I think I learned that from artists-from painters and sculptors. It took photography a while to catch up to them.
Nashville has a formula, and it works a lot of the time, but it wasn't right for me. They're afraid to step outside the box - even though, with me, my success came because I was outside of the box to begin with.
My father wasn't a hard guy. He was a well-liked guy. He had a lot of compassion about things in life. There were rules, but there was also flexibility within those rules. He didn't push me when it came to golf: he just taught me the right way to play the game.