Sitting down with younger women writers and saying, "This is what I do and you can do this" is hugely important.
There are very few instances where writers have also been effective image makers - different skill sets are required.
Many who are making cellphone images are advocates with a stake in the outcome of what they are depicting. In some ways this makes their work more honest and easier to read - they can also manipulate, although the work of professionals can be quite manipulative as well.
Photographs need to demand the viewer's attention, often implicitly, posing questions as to the nature of what is being depicted. Photographs are not there to show us the world, but to show us a version of what may be happening.
One cannot always summarize massive issues by looking at the life of one person or one family, or even one community.
Word, image, and sound all must have primacy in the development of the narrative.
Photojournalism has become a hybrid enterprise of amateurs and professionals, along with surveillance cameras, Google Street Views, and other sources. What is underrepresented are those "metaphotographers" who can make sense of the billions of images being made and can provide context and authenticate them. We need curators to filter this overabundance more than we need new legions of photographers.
The hallmark of a person who is following the pathway to enlightenment is that they bring excellence into everything, no matter how crappy they feel.
I am absorbed in the magic of movement and light. Movement never lies. It is the magic of what I call the outer space of the imagination.
IN MY NERVOUSNESS FOR THIS SPEECH AND MY MOMENTS OF DOUBT, I'VE TOLD MYSELF FIRMLY, 'IF NOT ME, WHO? IF NOT NOW, WHEN?'
When I write, it's everything that we don't know we can be that is written out of me, without exclusions, without stipulation, and everything we will be calls us to the unflagging, intoxicating, unappeasable search for love. In one another we will never be lacking.