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.

Giving someone their style or bumping up their sense of style to be a better version of what it is, is part of the fun of what I do, and I actually approached Al Sharpton. They didn't come to me.

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.

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."

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.

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.

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.