There must be a reason why photographers are not very good at verbal communication. I think we get lazy.

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.

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.

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.

If it makes you cry, it goes in the show.

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.

When I was younger, I did things with a camera I would not do by myself. I remember going down to the docks in San Francisco and asking a fisherman if he would take me out on his boat. I would never do that without a camera.