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.

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.

Everyone hates their picture being taken and they're nervous and they're bringing all of that. When I meet with them they realize it is a collaboration and they look forward to coming back.

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.

Many of the jazz musicians whom are no longer here. You don't realize that it's history when it is happening and then time passes and you look at a picture and you say "Wow, there is history attached to that."

So sometimes it is an outright manipulation like that, but most of the time I'm just, I'm creating a mood that is a place of comfort for the person and a way for our dialogue to be more fluid.

We all look in the mirror and see us a little blonder or a little thinner or a little younger, whatever that ideal might be and most of the people that I'm photographing are selling something, you know whether they're on the front of an album cover or a magazine or they're a corporate person ready to switch companies or a doctor selling a skincare line... so I want to help them achieve that.