Teaching is only interesting because you struggle with trying to talk about photographs, photographs that work, you see.

[Me book is] called Stock Photographs. It was done at the Fort Worth livestock show and rodeo. I was commissioned to shoot there by the Fort Worth Art Museum for a show. I probably shot a total of fourteen days, give or take.

If you take a good look at the book [ Stock Photographs], it's largely a portrait gallery of faces - faces that I found dramatic. And some of those turned out to be reasonably dramatic photographs. But that's all it is, I think.

It's got to do with the contention between content and form. Invariably that's what's responsible for its energies, its tensions, its being interesting or not.

You've got a number of things that take place that are peculiar to still photography. One: how a picture looks - what you photograph is responsible for how a photograph looks. In other words, it's responsible for the form.

I'm a New Yorker. Matter of fact, the more I'm in places like Texas and California, the more I know I'm a New Yorker. I have no confusions. About that.

Well, in terms of what a camera does. Again, you go back to that original idea that what you photograph is responsible for how it [the photograph] looks. And it's not plastic, in a way. The problem is unique in photographic terms.