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

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 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.

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.

No one ever thought Clint Eastwood was funny, but he was.

The work which is manipulated looks a little boring to me. I think life is pretty strange anyway. It is wooo, wooo, wooo!

Sometimes I enjoy just photographing the surface because I think it can be as revealing as going to the heart of the matter.