You know, you get into the business of commercial photography, and that's all you do is photograph what you know. That's what you're hired for.

There are people who are socially ambitious. If you go back aways, the Sculls, for instance, had a lot of money and they were socially ambitious. If you get an old master, it's not going to do you any good socially.

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

You're talking about meaning. I want to talk about the picture.

Everybody's entitled to their own experience.

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.

There are photographers whose shows I try to make it my business to see, if I'm in the city. There are photographers I have no interest in at all.