When I take a picture I take 10 percent of what I see.

You have trust in what you think. If you splinter yourself and try to please everyone, you can't.

I sometimes find the surface interesting. To say that the mark of a good portrait is whether you get them or get the soul - I don't think this is possible all of the time.

Everyone has a point of view. Some people call it style, but what we're really talking about is the guts of a photograph. When you trust your point of view, that's when you start taking pictures.

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.

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 you involve people, they come out, you see them, you get to see their sense of humor.