If I photograph you I don't have you, I have a photograph of you. It's got its own thing. That's really what photography, still photography, is about.

I photograph what interests me. I'm not saying anything different.

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 have anything to say in any picture. But you do, from your experience, surmise something. You do give a photograph symbolic content, narrative content... But it's nothing to worry about!

It's a lot of work organizing something, whether it's a show or a book, and I don't want to do it every day.

In terms of content, you can make a problem for yourself, I mean, make the contest difficult, let's say, with certain subject matter that is inherently dramatic.

Photographers mistake the emotion they feel while taking the photo as a judgment that the photograph is good