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.

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.

I think that people get into trouble when they photograph something that they... that is not in their world. It's like when they say "write what you know."

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.

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.

You know I don't care if it's you know an intern or a full-time employee. I want to help them arrive at who they are or who they want to be in the world and that is one of the questions I ask them when I meet them. You know, who do they want to be.

This whole business of all these lenses is ridiculous. You know, it's like you have to capture your picture. You have to create it. You have to see it. You have to seize it and you have to move in to get it, so those lenses are just an escape of some sort or a shield.