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.

For me there's several components to picture-taking and it starts with my goals as an artist. It's capturing I guess the inner life of my subject and then it is giving them their idealized version of themselves.

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."

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.

I think that people have to just go with their gut and follow their passion if they're photographers.

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.

When people warn me about someone - the label head or the publishing head - that somebody is difficult, I'm in heaven.