All I'm doing is photographing. When I was working on The Animals, I was working on a lot of other things too. I kept going to the zoo because things were going on in certain pictures. It wasn't a project.

The contest between form and content is what, is what art is about - it's art history. That's what basically everybody has ever contended with. The problem is uniquely complex in still photography.

I have boxes of pictures that nothing is ever going to happen to. Even Public Relations. I mean, I was going to events long before, and I still am.

[Photography is ] likewise even French impressionists. So the Sculls bought pop. It was politics, and they moved with it. And I think that could be happening, to some degree, with photography, too. It doesn't cost as much to do it, either.

The photo is a thing in itself. And that's what still photography is all about.

I had an agent. When [Edward] Steichen was doing "The Family of Man", I went up to the office one day. I think Wayne Miller, who assisted Steichen with "The Family of Man," was up there and pulled out a bunch of pictures. So I got a message: "Take these pictures, call Steichen, make an appointment and take these pictures up there." And that's how I met him.

I don't really have any faith in anybody enjoying photographs in a large enough sense to matter. I think it's all about finances, on one side.