When I'm photographing, I don't have that kind of nonsense running around in my head. I'm photographing. It's irrelevant in the end, so it doesn't mean a thing. It's not going to make me do better work or worse work as I can see it now.

There are people who like photography; there are people who are worrying about what's going to happen with the dollar. They want to get anything that seems hard. I don't know, but I think it's got to do with economics. Now and then you get somebody who buys a picture because he likes it.

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.

There are no photographs while I'm reloading .

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?

Los Angeles has interested me for a long time. I was in Texas for five years, for the same reason. I wanted to photograph there.

You see something happening and you bang away at it. Either you get what you saw or you get something else--and whichever is better you print.