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.

I have no idea what's going to happen. Who knows - if they can't afford to buy a boat, maybe they buy a print. Who knows what happens with their buck?

I still don't understand why when you put a piece of paper in a tray with solution in it, it comes up. It's still, in a sense, magic to me. It's a funny thing, you know. I've got two kids, and when they were very young, they used to come in the darkroom and I thought they'd be astounded by that. Nothing. When they got a little older, then they got astounded by it.

The museums want large crowds coming to the shows - it's the same thing. It's hype. Absolutely. But there's nothing evil about it.

I pretty much know what I'm doing.

I'm a good craftsman and I can have this particular intention: let's say, I want a photograph that's going to push a certain button in an audience, to make them laugh or love, feel warm or hate or what - I know how to do this.

I enjoyed it [commercial work] until I stopped. You could travel and get around. I can't really explain why, I just didn't want to do it anymore.