I feel very proud of the work from the '80s because it is very bright and colorful.

I wish that all of nature's magnificence, the emotion of the land, the living energy of place could be photographed.

You don't have to sort of enhance reality. There is nothing stranger than truth.

I admired the work of photographers like Beaton, Penn, and Avedon as much as I respected the grittier photographers such as Robert Frank. But in the same way that I had to find my own way of reportage, I had to find my own form of glamour.

When I started to be published I thought about Margaret Bourke-White and the whole journalistic approach to things. I believed I was supposed to catch life going by me - that I wasn't to alter it or tamper with it - that I was just to watch what was going on and report it as best I could. This shoot with John was different. I got involved, and I realized that you can't help but be touched by what goes on in front of you. I no longer believe that there is such a thing as objectivity.

Photography is not something you retire from.

I was out there with the White House press squad, and after his helicopter took off, and the carpet rolled up...This wasn't a photograph that others were taking, but I continued to take pictures.