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.

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.

I don't know if I'm really the fastest. It doesn't matter.

You use the vertical edge as the point of reference, instead of the horizontal edge. I have a picture of a beggar, where there's an arm coming into the frame from the side. And the arm is parallel to the horizontal edge and it makes it work. It's all games, you know. But it keeps it interesting to do, to play.

When I’m photographing I see life.

The only thing that happens when I'm teaching is that I hope there are some students out there in the class who will ask questions.

I never saw a pyramid, but I've seen photographs; I know what a pyramid or a sphinx looks like. There are pictures that do that, but they satisfy a different kind of interest.