Could it possibly be true that a sequential collection of photographs acquired almost automatically in less than half a
minute has more credibility than a deliberately crafted and meticulously edited picture story? I think that in one important
respect, the answer to this question is yes. By removing the controls normally exercised by the photographer and the editor, the
subject is liberated. Each frame in this book speaks for itself. There is no evidence of selection or manipulation on the part of the
photographer. No editor’s hand, influenced by any aesthetic, commercial, or political agenda, determined the content of these
pages. That is perhaps why the experience of viewing this book does not seem to leave the same strange aftertaste that more
traditional collections of photographs sometimes do—the sense that somehow one’s view of the world has been deliberately, if not
maliciously distorted.
