All dancers are, by and large, a photographer's dream. They communicate with their bodies and they are trained to be completely responsive to a collaborative situation.

Irving Penn said he didn't want to photograph anyone under 60, and I think there is some truth about it.

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

What I end up shooting is the situation. I shoot the composition and my subject is going to help the composition or not.

If I didn't have my camera to remind me constantly, I am here to do this, I would eventually have slipped away, I think. I would have forgotten my reason to exist.

All dancers are, by and large, a photographer's dream. They communicate with their bodies and they are trained to be completely responsive to a collaborative situation.

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.