I'll come back to New York. I think I'll start focusing in more on the entertainment business. I have been doing some of that already, all kinds of monkey business. But I'm all over the place, literally.

I had an agent. When [Edward] Steichen was doing "The Family of Man", I went up to the office one day. I think Wayne Miller, who assisted Steichen with "The Family of Man," was up there and pulled out a bunch of pictures. So I got a message: "Take these pictures, call Steichen, make an appointment and take these pictures up there." And that's how I met him.

I don't think of it as difficult. It would be difficult if I were carrying something heavy, but I carry Leicas. You can't talk about it that way. I'm not operating a shovel and getting tired.

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.

If I photograph you I don't have you, I have a photograph of you. It's got its own thing. That's really what photography, still photography, is about.

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.

At times I'd much rather talk about other work.