Actually, the animal pictures came about in a funny way.

Every photograph could be set up. If one could imagine it, one could set it up. The whole discussion is a way of not talking about photographs.

If I photograph you I don't have you, I have a photograph of you. It's got its own thing. That's really what photography, still photography, is about.

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.

At times people in the press were also useful to me.

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.

Sometimes photographers mistake emotion for what makes a great street photograph.