I do select a soundtrack for each of my subjects and again my assistants you know they make fun of me because that is more important to me than the lighting, which I just do in a minute right before, but I spend a long time on the soundtracks.

I can't tell you how many reshoots I've done from, you know, famous photographers who really love just to shoot models and failed at shooting a Patti Labelle or someone like that because Patti Labelle didn't turn them on, so you have to shoot what you care about.

My days are kind of controlled by my projects, so sometimes they're album covers. Sometimes they're commission portrait shoots. Sometimes they are editorial, so it kind of - I don't dictate it.

When people are described as difficult and have a reputation as difficult it's 99% of the time because they've been disappointed over and over again by people who don't really know what to do for them, and I know I'm going to make them happy and I can't wait to work with them.

I kind of - you learn it, you master it, and then you make sure that it just disappears. You know, like if I could have invisible lights, I would, and invisible cameras. I'm just really trying to get at my subject and I respect the technical aspect, but it is not anything that I think about at this point.

I think my most favorite subject was Lena Horne, because she embodies soul and grace and elegance and 'street'. She embodies everything. And beauty — great beauty.

You know a photo session is really a dance and making sure that they're comfortable and for me it's the music, the music, the music. That is everything.