It was interesting; it's an interesting photographic problem [those demonstrations in the late Sixties]. But if I was doing it as a job, I think I'd have to get paid extra.

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.

I'll come back to New York. I think I'll start focusing in more on the entertainment business. I have been doing some of that already, all kinds of monkey business. But I'm all over the place, literally.

There are things I back off from trying to talk about, you know. Particularly my own work. Also, there may be things better left unsaid. At times I'd much rather talk about other (people's) work.

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.

My only interest in photographing is photography.

When I see something, I know why something's funny or seems to be funny. But in the end it's just another picture as far as I'm concerned.