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

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.

You have trust in what you think. If you splinter yourself and try to please everyone, you can’t. It’s important to stay the course. I don’t think I would have lasted this long if I’d listened to anyone. You have to listen somewhat and then put that to the side and know that what you do matters.

The camera makes you forget you're there. It's not like you are hiding but you forget, you are just looking so much.

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

When you go to take someone's picture, the first thing they say is, what you want me to do? Everyone is very awkward.

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.