"In a still photograph, you basically have two variables, where you stand, and when you press the shutter. That's all you have. (...)
This photograph of the dirty dishes, and this photograph of the dirty kitchen. I mean, I like them because they both remind me that it can happen any time, anywhere. You don't have to be in front of stuff that's going to make a good photograph. Everything, it's possible anywhere. (...)
I work the materials in a very straightforward, simple way. I produce a negative that has as much information as possible, which is the way the world is, every surface is described in the world. So my craft is duplicating the light that exists in the physical world. That's my measure of a good print: if it feels like the light that exists in the physical world, it's a good print. (...)
In fact, the work I'm looking at now is from 2002. But that time is a good lag time, because what happens is that I forget about the subjective experience of taking the picture, which is always pleasurable. When I look at the contact sheets, I want to be free of that. I want to just look at the photograph and see if it's interesting. It amazes me sometimes, each of those exposures, maybe five in a row, taken maybe within a three to four-second period. You'd think they'd like each other. They don't! The world is so constantly in flux that each one is different, is distinct. And a little thing, a little thing, changes the photograph completely."
- Henry Wessel in KQED Spark - Henry Wessel, 2007.