I was a bike rider, a photographer and a history student, probably in that order. (On his early years)

If 'The Wild One' were filmed today, Marlon Brando and the Black Rebel Motorcycle Club would all have to wear helmets. I used to be afraid that when (Hells) Angels became movie stars and Cal the hero of the book, the bikerider would perish on the coffee tables of America. But now I think that this attention doesn't have the strength of reality of the people it aspires to know, and that as long as Harley-Davidsons are manufactured other bikeriders will appear, riding unknown and beautiful through Chicago, into the streets of Cicero.

The pictures do not ask you to help these people, but something much more difficult; to be briefly, intensely aware of their existence, an existence as real and significant as your own.

[The people who run things] are so successful in the way they do it now. They could buy me off with a couple of vintage prints, they could have you do an ad, or give you a ribbon... In capitalist countries they reward artists because we're ineffectual.

I wanted to change history and preserve humanity. But in the process I changed myself and preserved my own.

The sign at the entrance to my gym locker room says, no cell phones please, cell phones are cameras. They are not. A camera is a Nikon or a Leica or Rolleiflex, and when you strike someone with one, they know they have been hit with something substantial.

The use of the camera has always been for me a tool of investigation, a reason to travel, to not mind my own business, and often to get into trouble.