My photography has really always been about what I feel I'm getting out of it. What people on the outside get doesn't concern me.

I'm a very curious person. And most people are charmed by curiosity - especially if you are curious about them or what they are doing . . . unless they are breaking into a car or something.

I think I'm predominantly known for my portraits. Obviously in my work there are landscape or stilllife elements, but mainly my work is people . . .

I have always made films simultaneously, so they go hand in hand. I think that my books are like films.

I do feel a kinship with anthropology or ethnography, although when you hear those terms you think of something exotic. Generally, photographic anthropology has that taste of the faraway or undiscovered place. But my anthropology has more to do with what's in my reach.

I am excited about more than just youth culture, and youth is also stretching a bit longer now. But I have to say resistance and disregard keeps me excited.

As my sons went into teenagehood, they started to look like some of the groups of people that I had photographed previously. They started to become like my old subjects. As if, as a photographer, you come around to the same visual points.