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.

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.

In the simplest sentence, I photograph to find out what something will look like photographed. Basically, that's why I photograph, in the simplest language. That's the beginning of it and then we get to play the games.

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.

There was a camera club at Columbia, where I was taking a painting course. And when I went down, somebody showed me how to use the stuff. That's all. I haven't done anything else since then, It was as simple as that. I fell into the business.

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.

It's got to do with the contention between content and form. Invariably that's what's responsible for its energies, its tensions, its being interesting or not.