Nobody sold prints then and prices didn't mean anything. In terms of earning your living, it was a joke.

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.

Now and then I'll get a student who asks a question that puts me up against the wall and maybe by the end of the semester I can begin to deal with the question.

I'm pretty fast with a camera when I have to be. However, I think it's irrelevant.

I'm surviving. I'm a survivor.

For me anyway when a photograph is interesting, it's interesting because of the kind of photographic problem it states - which has to do with the contest between content and form.

Cameras intrigued me.