When I'm asked about my work, I try to explain that there is no mystery involved. It is work. But things happen all the time that are unexpected, uncontrolled, unexplainable, even magical. The work prepares you for that moment. Suddenly the clouds roll in and the soft light you longed for appears.

In a portrait, you have room to have a point of view. The image may not be literally what's going on, but it's representative.

The pictures of my family were designed to be on a family wall, they were supposed to be together. It was supposed to copy my mother's wall in her house.

My lens of choice was always the 35 mm. It was more environmental. You can't come in closer with the 35 mm.

I don't think there is anything wrong with white space. I don't think it's a problem to have a blank wall.

As a young person, and I know it’s hard to believe that I was shy, but you could take your camera, and it would take you to places: it was like having a friend, like having someone to go out with and look at the world. I would do things with a camera I wouldn’t do normally if I was just by myself.

At my Rolling Stones' tour, the camera was a protection. I used it in a Zen way.