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.

I still don't understand why when you put a piece of paper in a tray with solution in it, it comes up. It's still, in a sense, magic to me. It's a funny thing, you know. I've got two kids, and when they were very young, they used to come in the darkroom and I thought they'd be astounded by that. Nothing. When they got a little older, then they got astounded by it.

Of course, you have politics, the Vietnam war and all that monkey business. There are all kinds of reasons. At every one of those demonstrations in the late Sixties about the Vietnam war, you could guarantee there'd be a series of speeches. The ostensible purpose was to protest the war. But then somebody came up and gave a black power speech, usually Black Muslims, then. And then you'd have a women's rights speech. It was terrible to listen to these things.

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.

The only thing that's difficult is reloading when things are happening. Can you get it done fast enough?

When I was a kid in New York I used to go to the zoo. I always liked the zoo. I grew up within walking distance of the Bronx Zoo. And then when my first two children were young, I used to take them to the zoo. Zoos are always interesting. And I make pictures.

It's the easiest thing in the world to do that, to make successful photographs. It's a bore.