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.

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 guess I'm half traditionalist, half modern girl and I just never... I love the digital world and I love electronica and after I shoot everything is digital, but I just... I don't know.

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.

A lot of the people that I photograph are master musicians themselves, whether they're singers or great jazz players and it's kind of fun to figure out who they came up with and who they emulated or who they idolized actually.

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.