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.

I shoot a little bit, maybe two rolls, medium format, which is 20 pictures, and if it's not working, I change the position.

I am impressed with what happens when someone stays in the same place and you took the same picture over and over and it would be different, every single frame.

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

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.

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

I've created a vocabulary of different styles. I draw from many different ways to take a picture. Sometimes I go back to reportage, to journalism.