You've got to deal with how photographs look, what's there, not how they're made.

I don't care how they think of it. Some of these people are acquiring some very good pictures by a lot of different photographers.

Sometimes I feel like . . . the world is a place I bought a ticket to. It’s a big show for me, as if it wouldn’t happen if I wasn’t there with a camera.

I don't know how to say easily what I learned. One thing I can say I learned is how amazing photography could be.

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.

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.

You don't solve anything ever, really. You simply state a problem which, when you're lucky, gives you some idea of what possible problems you can - it indicates, you know, your future headaches.