We have to tell people how images are made. And, the first step is to abandon the idea we're looking at photographs. We're looking at entry points to information and to the world in which the image was made.

One cannot always summarize massive issues by looking at the life of one person or one family, or even one community.

There are very few instances where writers have also been effective image makers - different skill sets are required.

I always believed that photography was subjective, interpretive and certainly did not represent the truth, but I did think that its status as a societal and historical referent needed to be both safeguarded and illuminated....now photojournalism is devolving into yet another medium perceived as intending to shock, titillate, sell, distort.

The photograph that discovers and uncovers the world is harder to simulate than an image that simply illustrates one's ideas about it.

We have faith in the photograph not only because it works on a physically descriptive level, but in a broader sense because it confirms our sense of omnipresence as well as the validity of the material world.

There is enormous need for professionals who know how to tell stories with narrative punch and nuance, who can work proactively and not just reactively, and whose approach is multi-faceted. We need more useful photographers.

Multimedia is not more media, but the employment of various kinds of media (and hybrid media) for what they each offer to advance the narrative.