When you're with people that are aware of the fact that you're a photographer, they'll say, "Oh, look at that! That's something to take a picture of!" That's almost a sure sign that you shouldn't do it.

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.

In Holland, things were pretty stale for me. Even though there were a lot of good influences and a certain openness to music and art and literature, I just wanted to go somewhere less familiar - somewhere bigger.

A lot of my work comes through accidents or circumstances that just happen to present themselves. I have to realize that something is presenting itself. Otherwise it slips right by.

Holland is a fairly small country, and in a weird way, somewhat conservative. That might surprise people because it is a very tolerant place, but it's also a somewhat Calvinist country.

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 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.