Frame in terms of what you want to have in the picture, not about making a nice picture, that anybody can do.

The game, let's say, of trying to state photographic problems is, for me, absolutely fascinating.

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.

The photograph should be more interesting or more beautiful than what was photographed

If you run into a monkey in some idiot context, automatically you've got a very real problem taking place in the photograph.

I know what I like to use myself. I use Leicas, but when I look at the photograph, I don't ask the photograph questions. Mine or anybody else's. The only time I've ever dealt with that kind of thing is when I'm teaching.

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.