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.

People are going to have a good time, you know. One can go have a good time at these big openings in museums. And people go to have a good time. But the thing has another purpose.In the case of museums, it's always got to do with money, people who donate and things like that. And I believe a certain kind of interest has to be demonstrated.

What if I said that every photograph I made was set up? From the photograph, you can't prove otherwise. You don't know anything from the photograph about how it was made, really.

What you photograph is responsible for how a photograph looks - the form, the design, whatever word you want to use.

All things are photographable.

I'm shocked that I can live pretty well, or reasonably, or make a certain amount of my living, anyway, off of prints. I guess it's nuts. I don't believe in it. I never anticipated it; I still don't believe it.

In the end, maybe the correct language would be how the fact of putting four edges around a collection of information or facts transforms it. A photograph is not what was photographed, it's something else.