I felt that from my end, I should deal with the thing itself, which is the event. I pretty much functioned like the media itself.

Let's put it this way - I photograph what interests me all the time. I live with the pictures to see what that thing looks like photographed. I'm saying the same thing; I'm not changing it.

Of course, you have politics, the Vietnam war and all that monkey business. There are all kinds of reasons. At every one of those demonstrations in the late Sixties about the Vietnam war, you could guarantee there'd be a series of speeches. The ostensible purpose was to protest the war. But then somebody came up and gave a black power speech, usually Black Muslims, then. And then you'd have a women's rights speech. It was terrible to listen to these things.

I get totally out of myself. It's the closest I come to not existing, I think, which is the best - which is to me attractive.

Photography is not about the thing photographed. It is about how that thing looks photographed.

I look at a photograph. What's going on? What's happening, photographically? If it's interesting, I try to understand why.

You use the vertical edge as the point of reference, instead of the horizontal edge. I have a picture of a beggar, where there's an arm coming into the frame from the side. And the arm is parallel to the horizontal edge and it makes it work. It's all games, you know. But it keeps it interesting to do, to play.