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.

I don't have anything to say in any picture.

There was a camera club at Columbia, where I was taking a painting course. And when I went down, somebody showed me how to use the stuff. That's all. I haven't done anything else since then, It was as simple as that. I fell into the business.

Tod or Hank Wessel, Bill Dane, Paul McConough, Steve Shore. Robert Adams, for sure. I'm ready to see what they do.There's a lot of people working reasonably intelligently.

It's the easiest thing in the world to do that, to make successful photographs. It's a bore.

Aside from the fact of just taking things out of context, I don't know why. That's part of a mystery. In a way, a transformation is a mystery to me. But there is a transformation, and that's fascinating.

The contest between form and content is what, is what art is about - it's art history. That's what basically everybody has ever contended with. The problem is uniquely complex in still photography.