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.

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 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.

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.

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.

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.

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.