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.

There's all kinds of people teaching who don't do anything worth a nickel. Likewise in advertising.

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.

I don't think anything happens without the press, one way or the other. I think it's all done for it. You saw it start, really, with Martin Luther King in Birmingham. He did the bus thing. And I don't think anything that followed would have happened if the press hadn't paid attention.

I'm trying to learn more and more about what's possible.

The contest between form and content is what, is what art is about - it's art history. That's what basically everybody has ever contended with. The problem is uniquely complex in still photography.

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.