I was scared to do anything in the studio because it felt so claustrophobic. I wanted to be somewhere where things could happen and the subject wasn't just looking back at you.

When you are on assignment, film is the least expensive thing in a very practical sense. Your time, the person's time, turns out to be the most valuable thing.

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.

My early childhood equipped me really well for my portrait work: The quick encounter, where you are not going to know the subject for very long. These days I am much more comfortable with the fifteen minute relationship, than I am with a life long relationship.

It's hard to watch something go on and be talking at the same time.

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've always cared more about taking pictures than about the art market.