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.

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.

The primary problem is to learn to be your own toughest critic. You have to pay attention to intelligent work, and to work at the same time. You see. I mean, you’ve got to bounce off better work. It’s matter of working.

Well, in terms of what a camera does. Again, you go back to that original idea that what you photograph is responsible for how it [the photograph] looks. And it's not plastic, in a way. The problem is unique in photographic terms.

The museums want large crowds coming to the shows - it's the same thing. It's hype. Absolutely. But there's nothing evil about it.

A pun calls the meaning of a word into question, and it upsets us tremendously. We laugh because suddenly we find out we're not going to get killed. I think a lot of things work that way with photographs.

I was able to work with two heads. If anything, doing ads and other commercial work were at least exercises in discipline.