[Composition is] as closely tied up with the body of the picture as veins and muscles are articulated with the human body. 

 To chart a course, one must have a direction. In reality, the eye is no better than the philosophy behind it. The photographer creates, evolves a better, more selective, more acute eye by looking ever more sharply at what is going on in the world. Like every other means of expression, photography, if it is to be utterly honest and direct, should be related to the life of the times—the pulse of today. The photograph may be presented as finely and artistically as you will, but to merit serious consideration, must be directly connected with the world we live in. 

 There is an essential unity between photography, science’s child, and science, the parent. 

 The more you do, the more you realize there is to do, what a vast object the metropolis is, and how the work of photographing could go on forever. 

 The photographer’s act is to see the outside world precisely, with intelligence as well as sensuous insight. This act of seeing sharpens the eye to an unprecedented acuteness. He often sees swiftly an entire scene that most people would pass unnoticed. His vision is objective, primarily. His focus is on the world, the scene, the subject, the detail. As he scans his subject he sees as the lens sees, which differs from human vision. Simultaneously he sees the end result, which is to say he sees photographically. 

 There needs to be a friendly interpreter between science and the layman. I believe photography can be this spokesman. 

 Does not the very word “creative” mean to build, to initiate, to give out, to act—rather than to be acted upon, to be subjective? Living photography is positive in its approach, it sings a song of life—not death. 

 Living photography builds up, does not tear down. It proclaims the dignity of man. Living photography is positive in its approach; it sings a song of life.