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.

I don't think time is involved in how the thing is made.

You don't solve anything ever, really. You simply state a problem which, when you're lucky, gives you some idea of what possible problems you can - it indicates, you know, your future headaches.

I develop my own film. And I work in spurts. I pile it up.

There is a transformation, you see, when you just put four edges around it. That changes it. A new world is created.

A photograph can look anyway. It just depends basically on what you photograph.

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.